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MORTIMER  BRANDT  GALLERY 


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Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

Research  Library,  The  Getty  Research  Institute 


http://archive.org/details/catalogueofcolleOOjohn 


0  0     # 

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CATALOGUE 


OF    A 


COLLECTION  OF  PAINTINGS 


BELONGING    TO 


JOHN  G.  JOHNSON. 


PHILADELPHIA 

November,  1892. 


Printed  bv 

allen,   lane  &  scott, 
Philadelphia. 


CATALOGUE. 

Measurements  are  in  inches,  the  first  figures  indicating  the  height  of  the  canvas. 
0 

AIVASOWSKY  (Jean). 

i.  MOONLIGHT  NEAR  THEODOSIA. 

Masses  of  fleecy  clouds  silvered  by  a  hidden  moon. 
The  sea,  darkly  lighted,  breaks  gently  in  the  foreground 
on  the  right.  A  high,  rocky,  half-seen  shore  stretches  back 
from  the  left  foreground. 

Aivasowsky  Exhibition,   London,   1881. 

AIVASOWSKY  (Jean). 
14  x  16J6 

2.  AFTER  WRECK. 

A  raft,  with  two  men,  barely  moves  on  a  still  blue  sea,  in 
which  are  reflected  light,  white,  moving  clouds,  that  fill  the 
high  blue  sky. 

Same  Exhibition. 

AIVASOWSKY   (Jean). 
62  x  So 

3.  STORM  AND  WRECK. 

A  raging  storm  and  mountainous  waves.  The  air  full  of 
spray  from  their  crests.  A  spar  floats  in  the  left  foreground. 
In  the  distance  a  disabled  vessel.  A  nearly  submerged 
boat,  loaded  with  people,  near  the  foreground  on  the  right. 

Same  Exhibition. 

(3) 


BARAU  (Emile). 

17  x  24 

4.  VILLAGE  IN  CHAMPAGNE. 

A  street,  in  glaring  sunshine,  curves  from  the  foreground 
on  the  right  towards  the  left  background,  and  is  hidden  by 
the  yellowish  houses  of  the  village. 

Painted  in  1886. 

BARTLETT  (Wm.  H.). 

12  x  17X 

5.  LANDSCAPE. 

A  stream  (with  boat  and  man)  stretches  back  to  the  left, 
obliquely  from  the  foreground  on  the  right.  At  the  foot  of 
its  green,  right  bank  is  high  marsh  grass,  which  also  covers 
the  left  bank  shown  in  the  foreground.  Trees  and  houses 
in  distance. 

Dated  1884.. 

Guardi  Gallery,  London,  1884. 

BARYE. 

S  x  12 

6.  LANDSCAPE  AND  DEER. 

A  hill-top,  heaped  with  rocks.  A  road  on  the  right  upon 
which  are  two  deer.     Heavily  clouded  day. 

Dillais  Collection. 

BASTIEN-LEPAGE  (Jules). 
20  x  27 

7.  THE  THAMES. 

The  river,  in  which  are  rafts  and  boats,  fills  almost  the 
whole  canvas.  On  its  far  bank  the  buildings  of  London 
vaguely  shown.     Gray  effect. 

Engraved  by    Van  Ness. 

Dated  London,  July,  188 1. 

M.  E.   May  Sale. 

(4) 


BASTIEN-LEPAGE  (Jules). 

2I><!  X  29^ 

8.  THE  THAMES. 

The  river,  which  stretches  from  the  front  back  into 
the  far  distance,  is  full  of  anchored  shipping  and  boats. 
These  curve  from  the  centre  and  extreme  right  to  the  left 
and  thence  back  to  the  horizon.  The  left  bank  is  a 
stone  quay,  near  which  are  more  boats.  In  a  gray  light, 
under  a  gray  sky,  on  each  side  of  the  river,  are  the  build- 
ings of  the  city. 

Dated  ' '  1882  Londres. ' ' 


BASTIEN-LEPAGE  (Jules). 
25'A  x  31 

9.  EARLY  MORNING  IN  DAMVILLIERS. 

Before  dawn.  In  the  foreground,  the  stone-paved,  main 
village  street  broadens  into  an  open  square.  On  the  left 
a  loaded  hay-wagon,  in  front  of  a  row  of  gray,  dark- 
roofed  houses  in  the  middle  distance.  In  one  of  these — 
the  corner  one  on  the  right — a  light  burns.  A  man  and 
woman  on  the  square  are  starting  for  their  work.  On  the 
left,  behind  the  row  of  houses,  distant  hills.  On  the  right 
another  row  of  houses  fronting  on  a  cross  street  leading 
to  a  partly  seen  country. 

Dated  "1882  Damvilliers." 
Posthumous  Exhibition  in  1885. 
Pen-sketch  by  artist  in  21st  vol.  Gazette 
des  Beaux  Arts. 

(5) 


BILLET  (Pierre). 
43lA  x  57 

10.  THE  FAGOT  GATHERERS. 

Four  peasant  women,  one  with  a  child  in  her  lap,  resting, 
at  noon,  in  a  partly-cleared  woods.  One  stands  against  a 
huge  tree-trunk,  facing  the  others,  seated  or  lying  on  the 
green  grass.  Between  the  trunks  of  other  large  trees  in 
the  background,  glimpse  of  a  forest.  A  fifth  woman,  loaded 
with  fagots,  approaches  from  the  distance.  On  the  left,  a 
roadway  pierces  the  woods. 

Awarded  medal  in  Salon,  1874. 
French  Gallery,  London,  i8j8. 
Duncan   Collection. 


BILLOTTE  (Rene). 

14^    X    21 

11.  LANDSCAPE. 

The  foreground  a  meadow  with  hay-ricks,  shown  in  sun- 
light.    In  the  background,  a  hill  with  houses. 

Painted  in  1891. 
BILLOTTE  (Rene). 

20 )A  X  2%% 

12.  CHATEAU  GAILLARD  LES  ANDELYS. 

In  the  rear,  on  the  slope  of  a  high  hill,  a  round-towered, 
gray  chateau.  In  the  middle  distance,  the  low,  white  re- 
taining wall  stretches  from  the  left.  The  foreground  a 
stream  which  curves  around  this  wall.  Yellow  shore  and 
bushes  on  the  left.     Clump  of   trees  on  the  right. 

(6) 


BOCHMANN  (Gregor  von). 

10  x  16X 
13.  THE  HAY-MAKERS. 

In  a  sunny,  green  meadow,  near  noon,  harvesters,  in 
their  coat-sleeves,  at  work.  A  woman  and  child,  on  the 
right,  bringing  their  lunch. 

French   Gallery,   1886. 

BOCKLIN  (Arnold). 

37  x  28^ 

14.  SAPPHO. 

Sappho,  her  lyre  in  her  lap,  seated  on  the  rocks  of  a 
high  isle,  looks  down  upon  the  blue  sea,  shown  beyond, 
in  the  background  on  the  left.  Foreground  of  moss-covered 
rocks  and  stones.  Huge  tree-trunks  on  the  right,  stretch 
back  towards  the  sea. 

BOCKLIN  (Arnold). 

41X  x  59 

15.  NYMPH  AND  FAUN. 

On  the  flowery  bank  of  a  blue  sea,  shown  in  the  dis- 
tance, lies  a  sleeping  nymph.  The  faun,  seated,  is  looking 
towards  the  sea. 

BONHEUR  (Rosa). 
37K  x  50^ 

16.  "BARBARO." 

A  large,  yellow-spotted,  white  hound,  which  has  half  risen 
on  his  fore  legs,  in  front  of  a  wall.  His  collar  and  chain 
hang  loose  on  the  staple.  The  place  of  his  mate,  for 
whom  he  waits,  is  vacant.  On  the  left  a  horse-bucket  and 
brush. 

Lord  Powerscourt  Collection. 

(7) 


BONNAT  (L.). 

12)4    X    15^ 

17.  ITALIAN  GIRL. 

A  little  Italian  girl,  in  blue  dress,  with  red  scarf,  and 
white  head-dress  and  sleeves,  asleep  on  a  grassy,  flower- 
studded  mound,  by  the  roadside,  her  head  pillowed  on  a 
red-covered  bundle. 

Dated  1867. 

Probasco  Collection. 


BONVIN  (R). 
21  x  15 

18.  THE  ENGRAVER. 

An  engraver,  in  red  coat,  seated  under  a  tilted  glass 
screen  near  a  window  on  his  left.  A  painting,  which  he 
is  copying,  on  the  easel  to  his  right.  From  a  pantry  in 
the  rear  a  female  servant,  holding  in  both  hands  a  bowl  of 
soup,  approaches. 

Dated  1872. 
Borie  Collection. 

Engraved   by    Coia-try    (No.    /j6)    in 
Durand  Ruel '  s    Gallery. 


BONVIN  (F.). 

21   x   14^ 

19.  THE  LAUNDRESS. 

A  woman,  whose  back  is  turned,  in  steel-gray  bodice 
and  reddish-brown  skirt,  ironing  a  shirt  on  a  long,  white- 
covered,  laundry  table.     Accessories  of  laundry. 

Dated  1858. 
(8) 


BOUDIN  (Eugene). 
20K  x  33  J4 

20.  TOULIGNON. 

A  blue  sea.  In  the  foreground  low  rocks.  In  the  mid- 
dle distance  another  line  of  high,  brown  rocks  stretch  from 
the  left  nearly  to  the  extreme  right.  A  heavily  clouded 
sky. 


BOUDIN   (Eugene). 

I2j4    X    22 

21.  TROUVILLE. 

On  the  right  the  bay,  full  of  shipping.  On  the  left  the 
shore.  Behind  the  bay,  filling  the  whole  background,  the 
houses  of  the  town.     A  heavy  overcast  sky. 

Dated  1873. 


BOUGUEREAU  (William  A.). 
57  x  41 

22.  THE  THANK-OFFERING. 

A  sick  child,  in  white  cap  and  night-dress,  and  blanket 
covered  legs,  seated  in  a  chair,  in  front  of  a  colored  wooden 
statue  of  the  Virgin  on  a  high  bureau.  A  candle  burns 
by  the  side  of  the  statue.  The  child  holds  a  lighted 
taper,  helped  by  her  mother,  in  dark  dress  and  brown 
shawl,  who  kneels  by  her  side  and  prays. 

Dated  1867. 

Collection     George    Fox,    of   Alderley. 

Fi'ench   Gallery,   i88j. 

(9) 


BRASCASSAT  (Jacques  R.). 

l6    X    21 

23.  HEAD  OF  A  BLACK  COW,  WITH  WHITE  SCAR. 


BRETON  (Jules). 
5°  x  33 

24.  THE  PENITENT. 

A  Brittany  peasant  (three-quarters  length)  with  long 
black  hair  falling  to  his  shoulders,  in  blue  jacket  and  brown 
breeches,  with  soft,  round  hat  under  his  left  arm,  and  a 
lighted  taper  in  his  right  hand,  telling  his  beads,  near  a 
barely  seen  confessional. 

Dated  18J2. 

Etched  hi  "Modern  Painters"  page  jj. 


BRETON   (Jules). 

25.  ST.  JOHN'S  EVE. 

Original  study  of  his  celebrated  picture  of  that  name. 
By  the  light  of  the  half  moon,  seven  women  dance  on 
the  green  grass,  in  a  circle  around  a  bonfire.  A  boy  behind 
them  on  the  left  swings  a  torch.  On  the  right  another 
bonfire  near  a  building.  In  the  distance,  on  the  left,  still 
another  fire. 

Universal  Exhibition,  j8j8. 

(10) 


BROWN  (R). 

24    X    12 

26.  THE  HOUSE-MAID. 

A  bare-headed  girl,  holding  in  her  left  hand  an  earthen 
jug,  touching  the  window-sill  of  a  house  on  her  right  with 
her  other  hand,  descending"  a  flight  of  stone  steps. 

Guardi  Gallery,  1884. 


BROWN   (J.  Lewis). 
40  x  40 

27.  THE  MEET. 

A  meet  in  an  open  meadow.  On  the  right  a  hill,  on 
which  is  a  high  wind-mill.  A  clump  of  trees  in  the  back- 
ground on  the  left.  Sky  heavily  clouded.  The  whipper- 
in  getting  the  pack  together.  Seven  horsemen,  mostly 
in  red  coats,  wait  the  start. 

Rewarded  with  the  Cross  of  the  Legion 

of  Honor,  in  Salon,  i8jo. 
A.    T.  Stewart  Sale. 


CALAME  (A.). 

15    X    I2>£ 

28.  THE  TWIN  OAKS. 

Two  large  oaks   in  the  centre  of  a  green  glade.     A  forest 
in  the  background. 

(11) 


CARRIERE  (Eugene). 

19X  x  23)4: 

29.  MOTHER  AND  CHILD. 

Half-length    of   a    sleeping    mother,    with    troubled    face, 
holding  her  sleeping  child  in  her  arms. 


CAZIN  (J.  C). 

23  x  28 

30.  SOLITUDE. 

A  high,  starlighted  sky  reveals  a  rutted,  snow-covered 
road,  with  high  sand-bank  on  the  right  covered  with  snow, 
through  which  low  bushes  peep. 


CAZIN  (J.  C). 

22  x  28 

31.  THE  DUNES. 

A  high,  round,  sandy  hill,  sparsely  covered  with  bushes 
and  salt-grass,  with  glimpse  in  the  background,  on  the  ex- 
treme right,  of  the  sea.  A  cow  grazing  on  the  slope  of 
the  hill  on  the  right.     Sky  faintly  lighted  by  the  moon. 


CAZIN  (J.  C). 

2i'A  x  17J4 

32.  THE  HILL  PATH. 

Near  the  top  of  a  green  hill,  up  which,  on  the  right,  a 
crooked  path  winds.  On  the  left  of  this,  near  the  centre, 
a  large,  flat  rock.     Beyond  this  a  hay-rick. 

(12) 


CAZIN  (J.  C). 

25X  x  32 

33.  THE  POND. 

A  hill,  covered  with  dark  grass,  curves  from  the  back- 
ground on  the  right  around  and  in  front  of  a  pond  with 
still  waters,  whose  edge  is  filled  with  high  salt-grass.  A 
sunset  sky  full  of  heavy  clouds.  A  distant  peep  of  the 
sea  in  the  extreme  left,  beyond  the  hill. 

Triennial  Exhibition  of  i88j. 
Exhibition  Universal  of  1889. 
M.   E.   May  Sale. 


CAZIN  (J.  C). 

21  x  17 

34.  STARLIGHT. 

A  high,  dark-blue,  cloudless,  starlighted  sky.  A  sandy 
road  runs  back  from  the  left  foreground  until  it  disappears 
behind  houses  on  the  right.  Its  left,  steep  bank  is  partly 
in  darkness  and  partly  starlighted. 


CHARLEMONT  (Edouard). 

&lA  x  38 

35.  THE  ALHAMBRA  GUARD. 

On  the  landing  of  a  flight  of  stairs,  with  his  back  to  a 
decorated  stone  wall  on  the  left,  stands  a  white-hooded, 
white-robed  Nubian.  In  his  right  hand,  which  hangs  by 
his  side,  is  his  drawn  sword.  Beyond  him,  through  an 
archway,  the  walls  forming  the  inner  court. 

Guardi  Gallery,   i88j. 

(13) 


CHENU  (Fleury). 

22^    X    T,ll/S 

36.  EFFECT  OF  SNOW. 

A  high  leaden  sky,  through  which  a  red  sun  strives  to 
break.  Near  the  centre,  a  road,  amongst  fields,  leads  to 
some  distant  houses.     Everything  buried  in  snow. 


CHINTREUIL  (Antoine). 
18  x  14^ 

37.  LANDSCAPE. 

In  the  foreground  a  pool  in  which  is  reflected  a  long 
stone  wall  on  the  right,  with  pitched,  brown  roof,  which  dis- 
appears amongst  some  trees  in  the  distance.  On  the  left  of 
a  narrow  roadway,  also  lost  in  the  background,  another 
roofed  stone  wall  is  partly  revealed. 


CHINTREUIL  (Antoine). 

8/z  x  18 

38.  SUNSET. 

A  river  in  the  centre,  which  reflects  the  sunset  colors  of 
the  sky,  stretches  back  from  the  foreground  and  is  lost  be- 
hind a  high,  dark  bank  with  some  overhanging  trees,  on 
the  right.     A  few  trees  on  the  low  left  bank. 

(14) 


CHINTREUIL  (Antoine). 

12    X    17 

39.  THE  ROADSIDE. 

In  the  foreground  a  sunny  roadside  with  grass-plat,  bushes 
and  figures.  On  the  right,  brown-roofed  cottages,  embedded 
in  trees.     A  mass  of  trees  on  the  left. 


COLLIN  (Raphael). 

5&lX  x  44 
40.  SPRING-TIME. 

A  young  girl,  in  straw  hat  and  light-figured  dress,  stands, 
looking  "out  of  an  open  window,  with  her  left  hand  lightly 
resting  on  its  wooden  rail.  Across  the  Aung-back,  green- 
latticed  shutter,  sun  rays.  Inside  the  room,  in  the  back- 
ground, a  basket  of  flowers.  A  vase  of  flowers  on  the 
window-sill. 

Dated  1884.      . 

Engraved  by  Baude. 

Salon,   i88p. 

Universal  Exhibition,  1889. 


CONSTABLE  (John). 

10   X   €,3/ 

41.  LANDSCAPE. 

Study  of  his  large  painting  of  River  Stour.  The  river 
fills  the  foreground,  and  winds  from  left  to  right,  disap- 
pearing in  the  background.  Beyond  it,  on  the  left,  a  flat 
meadow  with  trees. 

Dated  2jth  Sept.,  18 10. 

Miss  Constable' s  Sale,  28th  May,   1891. 

(15) 


COROT. 

42.  FOUNTAIN  IN  BRITTANY. 

A  long,  wooden  water-trough  on  a  hill-top,  in  the  centre. 
Two  women  seated  in  the  foreground  to  the  left  and  two 
on  the  right.  A  fifth,  with  water-jug  on  her  head,  ap- 
proaching from  the  fountain. 

M.    E.    May   Collection. 


COROT. 

13  X   10 

43.  CATHEDRAL  OF  NISMES. 

In  front  of  a  gray  cathedral  on  the  left,  and  of  a  wall  and 
trees  on  the  right,  a  still  water,  in  which  they  are  reflected. 
Gray  effect. 


COROT. 

io>£  x  14 

44.  LAKE   GENEVA. 

In  the  background  the  buildings  of  the  town,  the  hills 
in  the  extreme  distance.  The  lake  fills  the  foreground, 
on  which  is  a  boat.  On  the  right,  in  the  middle  distance, 
the  grayish-yellow  wall  of  the  Isle  of  Jean-Jacques-Rous- 
seau, overhung  by  tree  branches.     Strong  sunlight  effect. 

Painted  in  i8jp. 
Corot  Sale,  ATo.  91. 
Gentler  Collection. 

(16) 


COROT. 

21  X  I9X 

45.  COTTAGES   AT   DOUAI. 

The  foreground  the  front  yard  of  several  cottages.  A 
woman,  on  her  knees,  scrubbing.  Another,  in  the  doorway 
of  one  of  the  cottages,  stands  watching  her.  Beyond,  on 
the  right,  the  backs  of  some  larger  cottages. 

Painted  for  Dutilleux  in  18J3. 


COROT. 


46.  THE  ROAD  THROUGH  THE  WOODS. 

A  road,  starting  from  the  left,  curves  to  the  right,  and  then 
to  the  left,  until  lost  among  the  trees  of  a  wood.  In  the 
foreground  on  the  right  a  wooded  knoll,  beyond  which  a 
river.  The  left  of  the  road  skirted  by  trees.  On  it,  a  man 
and  a  woman,  waiting  for  a  man  approaching  in  the  distance. 
Soft  gray  effect. 

Robert  Collection. 


COROT. 


47.   SUNSET. 

The  glow  from  the  sun,  which  has  just  set,  lights  up  a 
stream  in  the  centre,  of  which  little  more  than  a  glimpse  is 
shown.  Towards  the  right,  in  the  middle  distance,  a  large 
old  oak,  whose  spreading  branches  shut  out  the  sky.  A 
dark,  hilly  country  in  the  foreground  and  on  the  left. 

Cottier  Collection. 
(17) 


COROT. 

48.  SOUS  BOIS  A  MARCOUSSIS. 

A  dark-green,  stagnant  stream,  full  of  pond  lilies,  stretches 
back  from  the  foreground  on  the  left  towards  the  right,  and 
is  lost  in  the  distance.  The  whole  left  bank  covered  by 
overhanging  green  bushes  and  trees.  Along  the  right  bank 
a  narrow  pathway,  skirted  on  each  side  by  high  trees.  Women 
and  children  passing  along  it.  In  the  distance,  to  the 
right,  a  small  village.  Peeps  of  white  sky  to  the  left,  may 
be  seen  through  the  thick  foliage. 

COROT. 

93/  x  13'A 
49.  NEAR   SAINTRY. 

On  the  left  a  large  tree  upon  a  knoll.  A  flat  country 
stretches  from  its  foot  to  the  rear  and  to  the  right.  A 
distant  village  in  the  background.  In  the  foreground  on 
the  right,  a  tree,  a  cow  and  a  woman.     Gray  effect. 


COROT. 

21  x  36 

50.  NEAR  GISORS. 

A  broad  stream,  its  banks  converging  towards  the  centre, 
stretches  from  the  foreground,  which  it  almost  fills,  and  is 
lost  in  the  background.  Its  left  high  bank  is  hidden  by 
masses  of  high  trees,  which  are  reflected  in  it.  The  right 
bank  is  a  flat  meadow.  On  this,  bordering  the  stream,  a 
few  stunted  willows.  A  cottage  in  the  background  on  the 
right.     Gray  effect. 

Corot  Sale,   No.  219. 

(iS) 


COROT. 

19  X  12 

Si.  SAMUR. 

A  street,  bordered  by  houses  on  the  left  in  shadow, 
and  by  others  on  the  right  in  sunlight  and  in  shadow, 
rises' by  steps,  from  the  foreground,  towards  a  cross  street 
in  the  rear.  On  the  far  side  of  the  latter  is  shown,  in 
bright  sunlight,  the  barber-shop  which  was  occupied  by 
Corot's  grandfather.     A  woman  climbing  the  steps. 

Cottier  Collection. 
COROT. 

12^  x  15 

52.    LANDSCAPE. 

On  the  left  the  wall  of  a  house  shaded  by  trees.  A 
road  stretches  from  near  the  extreme  left  in  the  foreground, 
past  the  house  through  a  high  stone  gateway  and  is  lost 
in  the  distance  on  the  right.  In  front  of  the  house  a  woman 
washing  clothes.  Beyond  her,  in  the  background,  through 
the  iron  fence,  glimpse  of  a  wooded  park. 


COROT. 

\6l4  X  22^f 

53.  NEAR  VILLE  D'AVRAY. 

From  the  foreground,  on  the  extreme  right,  a  sunlighted 
road,  up  which  some  cows  are  being  driven  by  a  man,  curves 
around  the  edge  of  a  hill,  past  a  brown-roofed  barn,  and  is 
lost  behind  a  pile  of  rocks  in  the  left  background.  A  hedge 
and  tree  border  this  road  on  the  right.  On  the  hillside 
on  the  left,  around  which  the  road  skirts,  a  tree  and  piles 
of  stones. 

(19) 


COROT. 

I5j^  X  I2# 

54.  PARK  OF  PRESLES  COURCELLES. 

A  green  park    forms    the    foreground.     In  the  right  fore- 
ground two  cows.     Trees  in  the  background. 

Dated  1823. 

Presented    by     Corot    to    his    nurse,     Mere 
Felix    Lemaitre. 


COROT. 

9X  15K 

55.  NEAR  SAINTRY. 

The  foreground  a  level,  green  field,  on  which  are  some 
cows  and  a  woman.  A  row  of  trees  stretches  across  the 
whole  middle  distance.  The  field  in  the  rear  of  these  is  in 
sunshine.     Houses  in  the  background. 

Chevalier  de  Knyff  Collection. 

COROT. 

i4#  x  17^. 

56.  MOTHER   AND   CHILD. 

A  stream  indistinctly  outlined  in  the  distance.  On  its 
foreground  shore  a  peasant  woman,  in  brown  dress  and  black 
bodice,  kneels,  stretching  out  her  arms  towards  a  baby  on 
the  left. 

(20) 


COROT. 

23^x35. 

57.  LAKE   NEMI. 

The  lake  on  the  left,  in  the  middle  distance.  Beyond 
it,  in  the  background,  its  high  shore.  In  the  right  fore- 
ground huge  tree-trunks.  A  man,  with  red  cap,  on  the 
rocky  shore  in  the  left  foreground.     Dark  tone. 

Vienna  International  Exhibition  of  1873. 


COURBET. 

20>^  X  25. 

58.  SOURCE  OF  THE  RIVER. 

From  between  high,  rough  rocks  on  the  right  and  left,  in 
the  background,  a  small  stream  emerges  into  a  dark  pool, 
which  fills  the  foreground.  Above  the  rocks,  a  heavily- 
clouded,  blue-patched  sky. 


COURBET. 

3S  x  54. 
59.  LANDSCAPE. 

The    foreground    a   flat,    green,    grassy   shore,    with  pools. 
The  blue  sea  fills  the  background.     High,  cloudless,  blue  sky. 

(21) 


COURBET. 

60.  LA  VAGUE. 

In  the  foreground  on  the  right  a  high,  brown  shore,  on 
which  is  a  boat.  The  ocean  breaks  in  high,  curling  waves. 
Above  heavy-massed  clouds  a  delicate  blue  sky. 

Painted  for  Courbet's  friend  Boisse. 
Somewhat   similar    to  the  painting  in 
the  Luxembourg. 


COURBET. 

19  x  25X. 

61.  LA   PLUIE. 

A  stretch    of   gray  ocean.    The   air   full    of   pouring  rain. 
A  dull,  leaden,  gray  sky. 

Dated  1868. 


COURBET. 

17.x  24. 

62.  THE  WILLOWS. 

A  grassy  road  stretches  back  from  the  foreground  near  the 
extreme  left  towards  the  right.  It  is  the  right  bank  of  a 
river  beyond,  seen  below,  and  is  bordered  on  the  left  by  a 
row  of  large  willow-trees.  A  yellowish-brown  cottage  on 
the  right  of  the  road. 

(22) 


COURBET. 

63.  LA  VALLEE. 

A  river  curves  back  from  the  left,  in  a  half  circle.  On 
its  left  a  high,  sloping,  green  bank.  A  pathway  skirts  it  on 
the  right,  bordered  on  each  side  by  trees.  In  the  background, 
on  the  right,  hills.  On  one  of  these  the  ruins  of  a  castle. 
The  water  in  the  foreground  reflects  the  blue  sky.  In  the 
rear  it  is  shadowed  by  trees.     Intense  blue  tone. 

COURBET. 

23  x  28. 

64.    CASTLE   OF   CHILLON. 

The  lake  circles  around  the  castle.  In  the  right  back- 
ground are  the  mountains.  A  bit  of  the  left  shore  in  the 
foreground.  Close  to  it  a  boat.  The  tongue  of  land,  on 
which  is  the  castle,  stretches  in  the  middle  distance  from 
the  left  into  the  lake.     Gray  tone. 

COUTURE. 

67  x  55^2- 
65.  THE   TROUBADOUR. 

The  black-haired  young  troubadour  is  seated  on  a  large, 
vine-covered,  flat  stone,  singing,  to  his  own  accompaniment 
on  a  violin,  which  lies  across  his  knees.  On  his  left  stand 
two  young  women,  listening  with  wrapt  attention.  On  his 
right,  in  front  of  him,  two  shepherd  boys.  Behind  him 
two  women,  one  of  whom  stands  with  her  head  buried  in 
her  hand. 

Salon,  184.3. 

Collection  Gsell. 

Secretan  Sale. 

(23) 


COUTURE. 

66.  LANDSCAPE. 

A  sandy  shore  in  the  foreground.  On  it  an  uprooted  tree, 
by  which  a  trunk  and  scattered  clothing.  Behind  it  a  high 
bank.  The  ocean  barely  distinguishable  in  the  background 
to  the  right. 

Eggers    Collection  (  Vienna). 


DAGNAN-BOUVERET  (P.  A.  J. 


67.  THE   HALT. 

The  van  of  a  family  of  strollers,  father,  mother  and  little 
child,  is  halted  by  the  side  of  a  tree  outside  of  a  village,  seen 
in  the  distance.  An  old  white  horse,  unharnessed,  nibbling 
the  grass.  On  its  back  the  child,  held  in  place  by  the 
father,  in  gray  slouch  hat  and  long  brown  coat,  whose  back 
is  turned.     The  mother  is  stooping  by  a  fagot  fire,  cooking. 

Dated  1883. 


DAGNAN-BOUVERET  (P.  A.  J.). 

21   X   15^. 

68.  BERNOISE. 

Seated  in  front  of  a  tree-trunk  is  a  woman,  half-length, 
in  the  costume  of  Berne,  black  velvet  vest  decorated  with 
silver  ornaments,  white  puffed  sleeves,  and  long  black  mit- 
tens.    In  her  hands  a  closed  book. 

Salon,  1888. 

(24) 


DAUBIGNY. 

19^  x  32^. 

69.  VIEW   NEAR  VILLERVILLE. 

A  stretch  of  hard,  sterile  land,  with  a  suggestion  of  water 
in  the  distance  at  the  foot  of  its  slope.  On  its  brow 
houses.  In  the  middle  distance  a  sunken  road  stretching 
across  from  right  to  left.  Between  it  and  the  foreground 
the  ruins  of  a  fountain.     Dark  effect. 

Dated  1868. 


DAUBIGNY. 

ioy2  x  13X. 

70.  THE   CREEK. 

The  foreground  a  sluggish  creek,  full  of  weeds  and  grasses, 
which  stretches  back  to  a  point  behind  trees,  where  it  is 
lost.     On  each  bank  trees. 


DAUBIGNY. 

33X  x  73/^- 

71.  SUNSET  IN  THE  DEPARTMENT  OF 
SEINE-ET-OISE. 

The  sky  full  of  yellow  glow.  In  the  background  on  the 
left  a  tree-covered  hillock,  which  slopes  into  the  foreground. 
Its  front  a  vegetable  garden.  In  the  foreground  in  the 
centre  some  peasant  women  (one  in  red  cap)  working.  A 
donkey  approaching  from  a  sunken  road.  A  long  expanse 
of  dark-green  country,  partly  plowed.  Trees  in  the  dis- 
tance, on  the  right. 

Van  de?i  Eynde  Collection. 

(25) 


DAUBIGNY. 

17  x  3t. 

72.  VILLAGE  OF  CONFLANS. 

A  long  stretch  of  river,  with  a  bit  of  dark-green,  level  bank, 
in  the  foreground  on  the  left.  Also  on  the  left  is  the  far 
bank,  on  which  are  a  clump  of  poplars  and  some  white  houses, 
reflected  in  the  river.  In  the  centre  of  the  background  is 
the  village,  on  a  slight  eminence.  On  the  far  bank,  on  the 
right,  houses  and  trees.     Serene  sky,  with  light  clouds. 

Dated  1867. 
Boric  Collection. 
Barye  Exhibition,  1889. 


DAUMIER. 
13  x  i6# 

73.   THE   BATH. 

On  the  left  the  wall  of  a  building.  On  the  right,  in  the 
rear,  another  building.  In  the  foreground  a  pool.  A  father 
about  to  dip  his  boy  into  it.  The  mother,  on  the  right, 
watching. 


DAVID  (J.  L.). 

17X  *  13^. 

74.  NAPOLEON. 

* 
Fancy  portrait   (half-length)  of  Napoleon  whilst  at  school 

at  Brienne. 

(26) 


DAWSON  (H.). 

2oyi  x  29^. 

75.  LANDSCAPE. 

Rocks  and  trees  on  right.  A  man  and  sheep,  on  a  road, 
which  rises  as  it  curves  to  the  right  around  the  rocks.  A 
sunken  road  on  the  left,  bordered  by  a  house.  Mountains  in 
the  background.     Yellow  tone. 


DECAMPS. 


76.  SYRIAN    LANDSCAPE. 

Reflected  in  a  narrow  stretch  of  still  water,  which  fills  the 
whole  foreground,  is  a  dark  cliff,  around  the  edge  of  which 
winds  a  narrow  shelf  of  road,  hidden  from  view  by  it,  on  the 
right.  The  sky,  which  has  not  lost  all  its  light,  lifts  itself 
above  the  cliff.  A  hilly  country  on  the  left  loses  itself  in 
the  background. 

Kaye-Knowles  Sale  {London). 
Barye  Exhibition,  i8Sp. 


DECAMPS. 

S^x  15. 

77.  MARINE. 

On  the  extreme  left  a  steep  cliff,  at  the  foot  of  which  breaks 
the  ocean,  which  fills  the  rest  of  the  canvas.  High  sky,  with 
heavy  clouds.     Sunset. 

Sa?i  Donato  Sale. 

Roederer  Sale. 

(27) 


DECAMPS. 

12  X   17. 

78.  THE  BIVOUAC  BEFORE  WATERLOO. 

A  moon  floats  through  clouds,  which  almost  hide  it,  and 
dimly  discloses  the  high  wind-mill  that  stands  on  an  emi- 
nence on  the  right.  Troops,  mounted  and  on  foot,  and  artil- 
lery wagons,  headed  by  Napoleon  and  his  staff,  are  ascending 
a  road  from  the  left  that  leads  up  to  the  mill. 

Collections  Dubois,    Cachardy,    Gaillard 

and  Borie. 
Jlforeau's  Decamps,  page  21 1. 
Barye  Exhibition,   1889. 


DEGAS. 

TA  x  11^. 
79.  THE   COW. 

Study  of  a  red  cow  against  a  white  background. 


DEGAS. 

iS  x  23^. 

80.  TIRED. 
A  ballet-dancer  seated  on  a  bench,  resting. 


Pastel. 
(28) 


DEGAS. 


8 1.    BALLET-DANCERS. 

In  the  foreground,  in  an  opera-box,  a  woman  seated,  with 
hand  resting  on  its  edge.  On  the  stage,  to  the  right  and 
rear,  four  women  dancing.  Another,  in  yellow  and  pink 
dress,  in  the  foreground,  courtesying. 

Pastel. 

DELACROIX. 

42  x  56. 

82.  FLOWERS   AND    FRUITS. 

On  a  yellowish-gray  stone  slab,  in  the  centre  of  the  fore- 
ground, rests  an  immense  basket  filled  with  flowers  and 
fruits.  On  the  right  and  left  of  this  are  high,  flower-covered 
stalks.  Behind  the  basket,  in  the  background,  a  glimpse 
of  blue  water  and  sky. 

No.  104.1  of  Robaut '  s  Delacroix. 

Engraved  by  La  Guillermie  in  Durand- 
Ruel's  Collection. 

Piron  Collection. 

Fanien  Collection. 

Exhibition  Universal  of  1855. 

DELACROIX. 

25  x  33- 

83.  COPY   OF   FRAGMENT   OF   MARRIAGE 
OF   CANA 

In  the  centre,  in  front  of  a  pillar,  a  woman's  head  and 
shoulders.  On  each  side  of  her  the  heads  of  two  men.  All 
looking  at  something  below,  not  shown. 

No.  1931  Robauf  s  Delacroix. 
See    Gazette    des    Beaux    Arts,     i88j, 
page  7/. 

(29) 


DELACROIX. 

21   X  25. 

84.  LION   AND    PREY. 

A  lion  tearing  the  body  of  a  dead  man  in  the  desert. 
High  sunset  sky. 

Florent  Willems'   Collection. 

DEMONT  (Adrien-Louis). 
34  x  57. 

85.  LES   OEILLETTES. 

An  immense  field  of  poppies,  on  which  the  moon  has 
just  risen.  On  the  right,  in  the  background,  trees  and 
houses.  In  the  foreground,  a  male  and  female  laborer  ap- 
proach, through  a  small  pathway  through  the  poppies. 

Engraved  fy  Pat  Hard. 
Salon  of  1888. 

Exhibition  U?iiversal  of  i88g,   where  it 
was  awarded  Gold  Medal. 

DIAZ. 

17  x  24^ 

86.  LA   DANSE   DES   ALMEES. 

On  the  left,  seated  on  a  raised  stone  throne,  with  back- 
ground of  trees,  the  Sultan  watches  the  dance  of  the  Al- 
mees,  in  brilliant-colored  dresses.  He  is  surrounded  by 
slaves,  who  hold  long-handled,  feather  fans  in  front  of  him. 
The  women  of  his  harem  are  seated  in  front  of,  and  below  him. 

Dated  1864. 

Co/lection   Vicomte  Aguada. 

Se  ere  tan   Collection. 

Diaz  Exposition,  i8yy. 

Exposition  des  Cent  Chefs  d '  CEuvres. 

(30) 


DIAZ. 

87.  THE   STORM. 

A  hill-top,  covered  with  trees  that  bend  under  a  sweep- 
ing wind.     The  sky  heavy  with  clouds. 


DUPRE. 

66  x  54 

88.  THE   GREAT  OAK. 

A  flock  of  grazing  sheep,  driven  by  a  shepherd,  approach 
along  a  grassy  road.  A  stubble-field,  on  the  left,  stretches 
to  the  background.  Over  the  road,  on  the  right,  a  gigan- 
tic oak  towers.  To  the  right  of  this,  half  hidden  by  its 
branches,  a  steep-roofed  cottage.  A  high  sky.  Peeps  of 
blue  through  masses  of  gray  clouds. 

Secretan   Collection. 
Barye  Exhibition  of  1889. 


DUPRE. 

25^  X  283< 

89.  FOREST  OF  COMPIEGNE. 

In  the  foreground  a  large   tree    and    greensward   are   dis- 
cernible.    The  hour  night.     Clouded  blue  sky. 

(31) 


DUPRE. 

io#  x  15 

90.  "BEACHED." 

On  the  beach,  in  the  foreground,  a  loaded  boat,  a  basket 

of   clothes   and    the    hulk    of  a  vessel.     On   the   left,  rocks. 

The  sea  beyond.  17r  ,      _  , 

J  II  ater- Color. 


DUPRE. 

2Sx36 

91.  THE   SHORE. 

The  foreground  a  brown  beach,  with  pools  left  by  the 
ebb-tide.  Reflected  in  these,  a  bark.  The  sea  fills  the 
middle  and  background.  High  sky  with  heavy  clouds, 
through  which  the  sun  is  about  to  break. 

Madame  Pierso?i   Collection. 


EDELFELDT  (A.). 


92.  THE  LITTLE  BOAT. 

A  northern  sea.  Shipping  and  houses  in  the  background. 
In  the  foreground,  on  the  right,  a  huge  roughly-dressed 
log  projects  from  the  shore  into  the  sea.  On  this  two 
boys,  one  lying,  sailing  a  boat,  the  other  sitting  astraddle, 
watching  him.  The  log  and  a  huge  stone,  near  the  shore, 
reflected  in  the  water.     Effect  of   white  light. 

Engraved  by  Bande. 
Dated  1884. 
Salon,  i88j. 

(32) 


ELLIS    (E.). 
23  x  i7l/2 

93.  LANDSCAPE. 


Persons  ascending  a   hilly  road,  which    curves  back  from 

1  side. 

French   Gallery,  1891. 


right  to  left.     Large  trees  on  each  side. 


FEY  EN   (Eugene). 

22  x  31X 

94.  "BERCEUSE   ENDORMIE" 

An  interior,  in  which  is  a  cradle  containing  a  robust 
peasant  baby  watching,  with  wide  open  eyes,  its  mother, 
still  rocking,  who  has  fallen  asleep,  with  her  head  dropped 
in  her  left  hand. 

Salon,  1880,  where  it  was  awarded  a 
second  medal  {silver). 


FORTUNY. 
27^  x  31 

95.  WOOD-NYMPHS   WORSHIPING  STATUE 
OF  JUPITER. 

A  lake  in  the  midst  of  trees,  which  darken  it.  On  its 
left  shore  a  stone  pedestal  on  which  is  a  marble  statue 
of  Jupiter.  Six  wood-nymphs  float  in  a  circle  in  front  of 
the  statue. 

Dated  Ro7ne,  1858. 

See  Description  in  Davilliers1  Life  of 
Fortuny. 

(33) 


FRERE  (E.). 

10  x  15)4: 

96.  RETURN    FROM    WORK. 

A  tired  peasant,  returning  from  work,  with  his  pail  on  his 
left  arm,  toils  up  the  steep,  stone,  village  street,  having  just 
passed  a  stone  archway  that  crosses  it.  Rows  of  small 
houses  on  each  side.  Beyond  the  house  roofs,  a  slight  peep 
of  bright  sky. 

FRIANT    (Emile). 
S  x  J% 

97.  THE  GARDEN   WALK. 

A  yellow  road  circles  in  front  of  some  low,  red-roofed 
houses  in  the  rear,  around  a  patch  of  garden,  with  green 
plants  on  the  left.  A  little  girl,  in  brown  hood  and  cloak, 
preceded  by  a  dog  and  followed  by  a  cat,  advances  along 
the  road. 

FROMENTIN. 

12  x  15 

98.  VENICE. 

A  view  of  one  of  the  side  canals  of  Venice,  which  fills 
the  foreground  and  stretches  back  to  the  horizon.  On 
either  side  grayish  and  grayish-brown  houses.  Cloudless 
sky.     Brown  effect. 

GERICAULT. 

28  x  23^ 

99.  THE   VETERAN. 

Half-length  of  wounded  soldier,  with  head  bandaged. 

Dated  1823. 
(34) 


GEROME  (J.  L.). 

29  x  46 

100.  L'ABREUVOIR. 

Four  camels,  covered  with  trappings,  and  on  the  back  of 
one  of  which  is  a  rider,  huddled  at  a  semicircular,  stone 
drinking-trough  in  front  of  a  brown,  stone  shed  on  the  right. 
By  the  side  of  the  latter  a  palm-tree.  To  the  left,  extend- 
ing to  the  background,  a  yellowish-green  plain.  On  this 
other  camels  and  palm-trees.     Brown  effect. 

Dated  1857-83. 

Salmi,  18 jy. 

Scharf  Sale. 

Engraved    by    Chauvel    in    L' Art  for 
i8j6,  part  1,  page  joo. 

GRANER  (L.). 

27  x  3S 
101.  ASLEEP. 

A  man,  seated  on  a  chair,  with  face  lighted  by  his  cigar, 
sleeps. 

Champ  Mars,  1892. 

GUILLAUMET  (Gustave). 

36X  x  54 

102.  EVENING   IN   THE   HIGH    PLATEAUS 

OF   THE   SAHARA. 

A  luminous,  high  sky.  The  sun  has  just  set.  The  tribe 
has  halted  for  the  night  and  pitched  its  tents.  In  the 
middle  distance,  on  the  right,  a  large  tent.  In  front  of 
this,  and  a  little  to  the  right  of  it,  stands  a  chief,  who  is 
reciting  a  prayer.  Near  him  two  seated  children  are  playing. 
In  front  and  to  the  left  of  the  tent  a  flock  of  sheep  and 
goats  lying  down.  Some  of  the  goats  are  being  milked 
by  men  in  red  caps  and  blue  coats.  The  desert  stretches 
far  back  to  the  horizon.  On  it  other  tents  in  the  back- 
ground. 

Painted  on  commission  in  1885. 

(35) 


HARPIGNIES  (H.). 

25^  x  38/2 

103.  LANDSCAPE. 

The  right  bank  of  a  river,  shrunken  in  its  bed,  forms  the 
foreground,  in  the  centre  of  which  is  a  loosely-piled  plat- 
form of  planks.  On  the  left  the  flat  river-bed  and  wooded 
shores  are  seen.  A  town  in  the  background.  A  high, 
luminous,  cloudless  sky.     Effect  of  white  light. 


HARPIGNIES  (H.). 

io}4  x  19^ 

104.  THE  VILLAGE   ROAD. 

A  dark-green,  grassy  road,  with  horse,  cart  and  several 
figures,  fill  the  foreground.  The  road  curves  backward  to 
the  left  and  then  to  the  right,  disappearing  behind  the  high 
hedge  of  a  garden,  in  which  is  a  house.  On  the  left,  be- 
yond the  road,  a  mass  of  trees.     Strong  sunlight. 

Dated  1874. 


HARRISON  (Alexander). 

10  x  13 

105.  HARBOR   OF   CONCARNEAU. 

The  white-lighted  water  fills  the  foreground.  In  the  back- 
ground, on  the  right  and  left,  old  stone  walls.  Beyond 
these  the  ocean  and  ships. 

(36) 


HARRISON  (Alexander). 
iS  x  24 

106.  MIDNIGHT. 

A   dark   hill-top,  dimly  seen.     A  sky  with  low  banks  of 
clouds  which  hide  the  moon. 


HARRISON  (Alexander). 

24x31 

107.  NEWPORT   HARBOR. 

Early  morning.  In  the  foreground,  on  the  left,  the  green 
shore  of  the  bay.  The  foreground  shore  to  the  right  of  this 
wet  from  the  receded  tide.  The  bay  in  the  middle  dis- 
tance and  background.  Ships  and  the  fort-houses  in  the 
far  distance. 


HARRISON  (Alexander). 

16  x  24 

108.    POND   AT   EASTHAMPTON. 

Stretch  of  grass,  with  pool  in  the  middle.  Red  farm 
buildings  and  trees  in  the  rear,  some  of  which  are  reflected 
in  the  water. 


HARRISON  (Alexander). 
24  x  31 

109.  MOONLIGHT. 

A  half-risen  moon   lights  the  ocean  breaking  in  the  fore- 
ground. 

(37) 


HARRISON  (Alexander). 

19  x  24 

no.  NEWPORT   GAS-WORKS. 

The  works,  at  night,  are  shown   in  the  background,  with 
the  fires  reflected  in  a  still  pool  in  the  foreground. 


HARRISON  (Alexander). 

36%  x  66 
in.  THE   OPEN    SEA. 

Sea  in  mid-ocean.     Delicate  sky. 
•*  Salon  de  Champs  Mars,  1891. 


HARRISON  (Alexander). 
36^  x  71 

112.  CHATEAUX   EN   ESPAGNE. 

In  the  foreground,  a  flat,  sandy  shore  on  the  left,  rising 
into  hill  on  the  right,  with  ocean  in  the  background,  lost 
on  the  right  behind  the  sand-hill.  On  the  shore  a  boy  lies 
on  his  back,  with  his  head  rested  on  his  right  hand.  By 
his  side  a  play-house  of  shells,  one  of  his  shoes  and  his 
blue  cap. 

Engraved  by   Clossen  and  Bande. 

Salon  of  1882. 

Universal  Exhibition,  1889. 

(38) 


HARRISON  (Birge). 

35  x  i8# 

113.  GATHERING   POND-LILIES. 

Two  young  peasant  girls  by  the  side  of  a  lily  pond.  One 
stands  with  her  hand  on  the  shoulder  of  the  other,  who, 
stooping,  is  gathering  the  lilies.  Their  figures  reflected  in 
the  water. 

HARRISON  (Butler). 
iS  x  30 

114.  LANDSCAPE. 

A  bare-headed  peasant  girl,  with  her  hands  in  her  lap, 
sits  at  the  foot  of  a  tree  in  a  grassy  wood.  Through  the 
open  spaces  the  sun  steals. 

HEBERT  (A.  A.  E.). 

13X  x  i8/z 

115.  ROSA   NERA  AT   THE   FOUNTAIN. 

A  fountain  under  a  stone  arch,  whose  shadow  hides  it, 
in  the  background.  In  front  of  it  a  heavy,  round  rail.  In 
front  of  the  latter,  and  to  its  left,  several  women  standing 
and  sitting,  some  with  their  backs  turned  and  some  facing 
to  the  front. 

Finished  original  study  of  the  celebrated 
painting  of  that  title. 

HOMER  (Winslow). 

35  x  30^ 

116.  MAINE   COAST  IN   WINTER. 

The  ocean  curves  high  in  the  air  as  it  breaks  against  a 
high,  rocky  shore   on   the   left   covered   with   snow   and  ice. 

Painted  in  1801. 

(39) 


HOMER  (Winslow). 
29)4:  x  47^ 

117.  THE   BREAKER. 

A  huge  blue  wave  rolling  in  upon  a  shelving  rocky  shore, 
from  a  sea,  still  swelling  after  a  recent  storm,  shown  under 
a  lowering  sky.  The  white  water  of  spent  waves  rushes 
down  the  brown  rocks  of  the  shore  on  the  left. 

Painted  in  i8gi. 


INNESS  (George). 

'5H  x  24 

118.  VALLEY   OF   CADORE. 

The  green  mountain  valley  which  sweeps  down  from 
the  hills  on  the  right  forms  the  foreground.  On  the  left 
trees.  In  the  middle  distance  the  town.  One  of  the 
Dolomites  can  be  discerned  in  the  background,  rearing  its 
huge  mass  into  a  sky  with  flushed  clouds. 

Dated  Rome,  1873. 


INNESS  (George). 
12%  x  18X 

119.  LANDSCAPE. 

A  stream,  extending  from  left  to  right,  makes  the  fore- 
ground. Beyond  this  a  green  meadow  bank.  In  the  back- 
ground a  forest.     Autumn. 

Dated  1883. 

(40) 


INNESS  (George). 

120.  LANDSCAPE. 

A  stream  winds  from  the  right  foreground  towards  the 
left.  Its  right  low  bank  a  meadow.  On  the  left  bank  a 
road,  bordered  by  trees.     Autumn. 


ISABEY. 

20>£  X  36 

121.  THE   PRISONERS. 

In  the  background,  mediaeval  buildings  and  an  old,  round- 
towered  castle.  A  sky  heavily  clouded,  with  large  patches 
of  blue.  The  foreground  a  street  with  marching  prisoners, 
and  guards  mounted  upon  gayly-caparisoned,  prancing  horses. 


ISABEY. 

45^  x  66 
122.  VIEW  AT   GRANVILLE. 

An  inlet  of  the  sea  stretches  into  a  town  whose  two 
parts  by  it  divided  are  connected  in  the  middle  distance 
by  a  yellow,  arched,  stone  bridge.  In  the  foreground,  on 
the  high  shelving  bank  on  the  right,  boats  pushed  by  men, 
and  other  boats  left  aground.  Two  rows  of  old,  high, 
mediaeval  houses  on  each  side  of  a  narrow  street.  On  the 
right  a  coach  preparing  to  start.  On  the  left  a  row  of  high 
buildings,  decorated  with  gay  flags,  which  cover  the  fronts 
of  many  of  them,  stretching  back  to  a  high,  steepled  church 
near  the  horizon. 

Dated  iSjj. 

Universal  Exhibition  of  1855. 

(41) 


ISABEY. 

17X25X 
123.  THE  DUEL. 

In  an  open  space  in  front  of  a  dark  forest  of  huge  trees, 
which  fill  the  whole  background,  two  couples  fighting  with 
swords.     Horses,  on  the  left,  dimly  seen. 


ISRAELS   (Josef). 

4B/z  x  37 

124.   COTTAGE   INTERIOR. 

A  mother,  with  troubled  face,  holds  in  her  lap  a  child 
munching  food.  Room  dimly  lighted  from  obscurely  shown 
window  in  rear,  -on  the  left. 


ISRAELS   (Josef). 

21/2  X31X 
125.  SEA-SHORE. 

The  foreground  is  the  shore  of  the  ocean,  with  pools  left 
by  the  ebb-tide.  In  the  distance,  on  the  extreme  right,  a 
ship,  towards  which  two  women  are  walking.  A  child  on 
the  shore,  playing  with  a  boat. 

Painted  in  i8go. 

(42) 


JACOUE. 

21%  x  1714; 

126.  RETURN  TO  THE  FOLD. 

A  flock  of  sheep  crowding  into  the  open  door  of  a 
gray-walled,  stone  stable.  To  the  left  of  the  door  the 
shepherd  and  his  dog.     Gray  tone. 


JACOUE. 

20>2   X  27X 

127.  GOING   TO  PASTURE. 

From  the  centre  of  grayish-yellow  farm  buildings,  in 
shadow,  on  the  left,  a  large  flock  of  sheep,  which  almost 
fills  the  foreground,  pours  into  a  grassy,  sunny  lane,  which 
stretches  to  the  background  and  is  bordered  on  each  side 
by  trees.     The  shepherd   near  the  head   of   the  flock. 

Dated  i860. 
Borie    Collection. 


JACQUET  (J.  Gustave). 

45  x  28 

128.   THE   COURTSHIP. 

In  front  of  a  gray  wall  stand  two  young  lovers,  a  girl  in 
Italian  peasant  costume  and  a  soldier  with  long,  dark  hair, 
slouch  hat,  gray  doublet,  short  breeches  and  blue  stockings. 

Painted   in   1868. 

(43) 


JOHANSEN  (Vigo). 

46  x  56 

129.  "MES  AMIS." 

An  interior,  hung  with  pictures  in  gilt  and  black  frames, 
lighted  by  candles  and  by  a  large  lamp  on  a  table  on  the  left. 
Around  and  near  by  the  table  are  seated  a  man,  woman  and 
child  listening  to  a  discussion  conducted  by  three  men, 
seated  on  the  right.  Farther  to  the  right  stand  two  men, 
also  in  discussion.  A  man  and  woman  in  the  far  corner  of 
the  room,  on  the  left.  A  Chinese  lantern  suspended  from 
the  ceiling. 

Salon  of  1888. 


JONGK1ND   (Jean  Barthold). 

130.  THE  CANAL. 

A  canal  fills  nearly  the  whole  foreground  and  extends 
back  until  it  is  lost  in  the  distance.  On  each  bank  old 
houses,  with  reddish-brown  roofs.  Semi-impressionistic  ef- 
fect. 


Dated  i86g. 


JONGKIND  (Jean  Barthold). 
16X  x  23 

131.  HARBOR  SCENE. 

A  semi-circular  harbor  on  the  left,  with  boats  and  shipping, 
which  is  nearly  encircled  by  the  shore,  on  which,  to  the 
right,  are  boats.     Background  of  houses.     Gray  tone. 

Dated  1852. 
(44) 


KOEKOEK  (B.  C). 

31  X39 
132.  LANDSCAPE. 

Copy  of  Van  der  Meer  of  Delft's  "Delft,"  at  the  Hague. 

Copied  in  iSji. 


KROYER  (Peter  Severin). 

34X  M)K 
133.  FISHERMAN'S  INN. 

Fishermen  in  a  cabaret  with  low  ceiling.  Seated  on  a 
wooden  bench,  polished  by  use,  a  glum  old  fisherman  with 
bottle  of  liquor  before  him  on  a  table.  Behind  this,  two 
others  sit,  playing  cards.  In  the  background,  on  the  right, 
five  other  fishermen  are  seated,  smoking  and  playing  cards. 
The  room  is  full  of  light,  from  the  windows  in  the  rear, 
which  streaks  across  the   tables. 

Dated  1886. 

International  Exhibition,  1886,   in  Petit 
Gallery. 


LAMBERT  (Louis  Eugene). 

134.  A  FAMILY  CONFERENCE. 

Three  kittens  gathered  around  their  mother,  an  old  Mal- 
tese. 

(45) 


LANSYER  (Emmanuel). 
2oy2  x  30 yz 

135.  ENVIRONS  OF  CERNAY. 

A    stream    winds    through    a  hard-frozen   meadow,   which 
slopes  upward  into  the   background,   on  which  some  build- 
.  ings  are  faintly  shown.     On  the  high  far  bank  of  the  stream, 
which  broadens  into  a  pool  on  the  left,  a  few  leafless,  over- 
hanging trees. 

LAURENS  (Jean  Paul). 
3i  x  39 

136.  THE  PARTING  OF  BERTHA  AND  ROBERT. 

Queen  Bertha,  in  blue  dress,  with  look  of  intense  suffering, 
stands  at  the  draped  doorway  on  the  right,  with  the  partly- 
lifted  hanging  in  her  left  hand.  Another  draped  doorway, 
under  which  the  light  streams,  on  the  left.  Between  the 
two  doorways  a  niche,  with  decorated  wall  in  rear.  In 
this,  upon  a  cushioned,  high,  wooden  bench,  King  Robert 
is  seated,  with  head  bowed  in  his  hands. 
Dated  1883. 

A  sequel  to  the  "Excommunication"  in 
the  Luxembourg. 

LAURENS  (Jean  Paul). 

31^x38^ 

137.  VENGEANCE  OF  POPE  URBAN  VI. 

Urban,  in  fur-lined,  brown  scull-cap,  and  long,  flowered 
dressing-gown,  stands  in  a  stone  dungeon,  gloating  over  the 
sight  of  the  dead  cardinals,  in  their  red  robes,  slaughtered 
by  his  command,  who  lie  near  the  left  wall  of  the  dungeon. 

Salon  of  188 j. 

Brussels  Exhibition  of  1884.. 
Photogravured  in  "  Great  Modern  Paint- 
ers, ' '  page  80. 

(46) 


LEPINE  (Stanislaus). 

24X  x  37 

138.  ST.  OUEN. 

On  the  high  bank  on  the  right,  masses  of  trees.  In  the 
centre  of  the  river,  which  curves  back  from  the  foreground, 
which  it  almost  fills,  until  lost  behind  the  trees  on  the  right, 
a  wooded  island.  On  the  left  bank  of  the  river  a  church 
and   trees.     Gray  tone. 


LEYS  (Baron  Henri). 
28  x  34 Yz 

139.  THE  OLD  HOSTELRIE. 

Interior  of  a  hostelrie.  On  the  left  a  counter,  behind 
which  a  woman,  in  red  dress,  talking  to  a  gayly-dressed 
cavalier,  who  rests  his  elbows  upon  it.  A  woman,  sewing, 
seated  to  the  left.  In  the  foreground,  on  the  right,  a  chair, 
on  which  are  a  sword  and  green  cloak.  In  the  background, 
on  the  right,  a  long,  square  table.  By  its  side  a  cavalier, 
eating.  Glimpse  of  a  sunlighted  court-yard,  through  the 
doorway,  near  the  rear,  on  the  left.  Other  figures  in  the 
extreme  right  background. 

Dated  iS^g. 


L'HERMITTE  (Leon  A.). 
17  x  13X 

140.  THE  SHEEP-FOLD. 

The  light,  through  a  window  and  open  door  on  the  left, 
half  illuminates  an  old  raftered  stable  in  which  a  large  num- 
ber of  sheep  are  huddled. 

Crayon. 

(47) 


L'HERMITTE  (Leon  A.). 
I7X  x  14^ 

141.  THE  OLD  TINKER. 

An  old  tinker,  at  work,  seated  on  a  bench  in  front  of  his 
covered  wagon. 

Crayon. 

L'HERMITTE   (Leon  A.). 
28  x  40 

142.   LANDSCAPE. 

A  dark,  level  country,  through  which  a  crooked  road 
winds,  shaded  in  the  middle  distance  by  trees.  An  ap- 
proaching donkey  and  rider  on  the  road  in  the  fore- 
ground.    A  yellow-streaked  sky.     Dark  tone. 

L'HERMITTE   (Leon  A.). 

I  7  X  22^ 

143.  COAST  OF  THE  BAY  OF  BISCAY. 

A  high  cliff  shuts  out  the  sky  on  the  left.  At  the  foot 
of  this  the  sea.     In  the  foreground  large  stones. 

Cray  071. 

L'HERMITTE  (Leon  A.). 

17X  x  25 

144.  THE   WOOD-CUTTER. 

On  a  huge,  squared  tree-trunk,  sits  a  woodman,  with 
long-handled  axe  in  his  right  hand.  To  the  right  and  the 
rear,  the  trunks  of  standing  trees.  Squared  logs  on  the 
left.     Effect  of  strong  sunlight. 

Crayon. 

Engraved  by  Courtry  (JVo.  2+4.  Collection 
Durand  Ruel). 

(43) 


L'HERMITTE    (Leon  A.). 

33  x  42  JA 

145.     THE  BATHING-PLACE. 

Brilliant  sunshine.  A  winding  stream  on  the  right.  Its 
green  bank  the  foreground  on  the  left.  On  this  stand  two 
women,  one  holding  a  naked  baby  in  her  arms,  towards 
which  a  woman  in  the  water  stretches  her  hands.  Two 
boys,  dressing,  near  them.  Boys  bathing  in  the  stream. 
Another   standing   watching   them.     Hills  in  the  rear. 

Dated  1889. 

Pastel  Universal  Exhibition,  1889. 

LOEFFTZ    (Prof.  L.). 

33  X  22^ 

146.  THE  SEWING-WOMAN. 

Near  the  middle  of  a  room,  lighted  by  a  window  on  the 
left,  a  woman  in  a  chair,  sewing.  To  her  right  a  stool, 
on  which  is  a  cushion.  Pictures  on  the  walls.  Through 
the  doorway,  in  the  rear,  a  sunny  court-yard  is  seen. 

Dated  1886. 
French  Gallery. 

MANET  (Edouard). 

54x51^ 

147.  KEARSARGE   AND   ALABAMA. 

A  choppy,  green  sea  rises  sharply  to  the  horizon,  leaving 
but  a  small  lift  of  sky.  Well  back,  the  ships  which  have 
been  in  combat,  and  others,  which  are  hastening  to  their 
rescue.  In  the  foreground,  on  the  left,  a  boat  under  full 
sail.  Masses  of  black  smoke  overhang  the  scene  of  recent 
battle. 

Salon  of  i8j2. 

Engraved  by  Gaucherel  (JDurand  RueV  s 
Gallery,  No.  /j8). 

(49) 


MARILHAT  (Prosper). 

34x44 

148.  LANDSCAPE. 

The  foreground  is  a  high  plateau,  on  which  are  large 
trees.  Below,  in  the  distance,  a  forest.  Reddish-brown 
effect. 

MARILHAT   (Prosper). 

149.  ORIENTAL  LANDSCAPE. 

A  mass  of  white  buildings  in  the  centre.  Behind  them 
a  group  of  trees.  In  front  groups  of  camels  and  drivers. 
Open  country  on  the  right.     Strong  sunlight. 

Dated  i8jj. 

MARILHAT  (Prosper). 

10X  x  8'/ 

150.  THE  MARKET-PLACE. 

An  open  square  in  a  city,  with  background  of  brown 
houses.  Behind  the  houses,  a  tall  minaret.  A  glimpse  of 
cloudless  blue  sky.  A  group  of  figures  seated  in  front 
with  articles  for  sale.     Brown  effect. 

Dated  i8j2. 

MARIS    (Jacques). 

20>£  X  14 

151.  THE  PRAYER. 

On  the  right,  the  high  square  porch  of  a  church.  On  its 
steps  a  child,  kneeling.  Behind  her  a  woman,  with  a  child 
in  her  arms,  stands  praying.  On  the  left,  high,  leafless  tree- 
trunks.     Houses  dimly  shown  in  the  background. 

Dated  1867. 

(50) 


MARIS  (Jacques). 

30/2  x  5S'/2 

152.    CANAL   IN    HOLLAND. 

A  canal,  crossed  by  a  high  wooden  bridge  in  the  mid- 
dle distance,  extends  from  the  foreground,  on  the  right, 
back  to  the  horizon.  On  its  right  bank  red-tiled  houses. 
A  glimpse  of  the  town  in  the  distance  may  be  seen  under 
the  bridge.  On  the  left  bank,  a  woman,  with  pails,  is  as- 
cending the  high  roadway  which  leads  up  to  the  bridge. 
Beyond  the  bridge,  on  the  left,  more  red-tiled  houses.  A 
boat  loaded  with  sand,  with  boatman,  just  past  the  bridge, 
approaches. 

Dated  i8?j. 

Salon,  i8jj. 

Barlow  Collection,  England. 


MARIS   (Jacques). 
6x8^ 

153.   LANDSCAPE. 

In   the  foreground  of   a  meadow  a   small    pool.     Behind 
this  cows  grazing.     Back  of  these  trees. 

French    Gallery,   18S-/. 


MARIS   (M.). 

22  x  i6)4 

154.   HEAD. 
Full  face,  veiled,  of  a  young  girl. 

(51) 


MARTENS   (W.  J.). 

27  X  <)% 

155.  "MAMMA!     A  SHIP!" 

The  background  the  wall  of  an  old  palace.  In  front, 
by  the  gondola  post,  a  toy  boat.  A  child,  held  by  its  young 
mother,  leaning  out  of  the  window,  claps  its  hands  at  sight 
of  the  boat. 

Hague    Water- Color  Exhibition,   1881. 


MARTIN    (Henri  G.). 

26x2lX 

156.  STUDY   OF  HEAD. 

A  half-length  study  of  an  olive-skinned,  dark-haired 
woman,  with  half   turned  shoulders,  and  full  face. 

Salon,  1887. 

MAUVE  (A.). 

39  x  52^ 

157.  THE  MEADOW. 

In  the  foreground,  on  the  left,  a  brilliantly-lighted  pool, 
in  which  stand  three  cows  drinking.  A  woman  and  sheep 
in  the  background,  on  the  right.  The  sky  on  the  right 
heavily  clouded. 

Painted  in  1869. 

MAX    (Gabriel). 

158.  INSPIRATION. 

A  half-length  of  a  woman  in  brown  dress,  with  deep 
lace  collar,  who,  with  wrapt  expression,  looks  away  from  an 
opened  book  of  music. 

(52) 


MEISSONIER. 

14^  x  20^ ' 

159.  VIEW  NEAR  POISSY. 

The  still  river  from  the  foreground  on  the  left,  curves 
around  to  the  right,  and  is  hidden  behind  its  high,  green, 
right  bank.  In  the  centre  of  the  latter,  on  the  right,  a 
clump  of  trees.  Meissonier,  on  horseback,  approaches  in 
the  distance,  along  the  river  bridle-path.  Near  the  fore- 
ground, a  side  path  slopes  down  to  the  river  where  some 
row-boats  are  moored.     Effect  of  sun. 

Dated  Poissy  1884,    at   which   time   the 
figure  of  Meissonier  was  added,    the    ■ 
landscape  having  been  completed  many 
years  before. 


MERLE  (Hugues). 

51  x  39 

160.  "  AU  DEFAUT  DE  CLES  VOICI  LES  PORTES." 

Napoleon  stands  on  the  balcony  of  the  hotel.  Behind 
him  several  of  his  officers.  The  street  in  front,  on  the 
right,  filled  with  a  mass  of  people,  women,  children,  work- 
men and  old  soldiers.  Immediately  in  front  of  the  hotel, 
on  the  gate  which  rests  upon  the  shoulders  of  some  of  the 
crowd,  stands  their  leader.  Beyond,  the  houses  of  the  town 
and  the  Jura  Mountains,  are  seen. 

Dated  1857. 
Salon,  1857. 

(53) 


METTLING   (Louis). 
14  x  17 

161.  STREET-SWEEPER  AT  LUNCH. 

In  an  interior,  lighted  dimly  by  a  window  on  the  left, 
an  old  woman  seated,  with  a  bowl  of  porridge  in  her 
lap.  By  her  side  her  broom,  a  green  earthen  vessel  and 
a  platter.     Brown  tone. 

Mary  Morgan  Sa/e. 


MEYER  (Claus). 

10  x  Tl/2 

162.  THE  NUN. 

A  nun,  in  a  pew,  near  the  confessional.  The  light  breaks 
through  a  window  on  the  left.  On  the  right  the  carved 
wooden  supports  of  a  pulpit. 


MICHEL  (Georges). 

2oy,  x  28^ 

163.  THE  OLD  CHATEAU. 

On  a  high,  grass-covered  rock,  on  the  right,  an  old  half- 
ruined  chateau.  The  country  rolls  away  from  the  foot  of  the 
rock  to  the  left  and  rear.  White-lighted  sky  with  black 
clouds. 

Engraved  by   Court  ry  {Durand  Rue  I' '  s 
Gallery,  No.  284). 

(54) 


MICHETTI  (P.). 

33  x  85 

164.  THE  SERENADE. 

The  blue  Adriatic  in  the  background,  with  high,  green 
bank  forming  the  foreground.  On  this  a  few  tall,  white- 
barked  trees,  and  a  group  of  dancers,  male  and  female,  in 
bright  costumes. 

Dated  1878. 

Berlin  Exhibition,  1891. 

MILLET. 

9%  x  14^ 

165.  THE  NOON-DAY  REST. 

Mid-day.  The  foreground  the  bank  of  a  stream,  which, 
in  the  middle  distance,  crosses  from  right  to  left,  but  is 
almost  concealed  by  its  high  banks.  On  the  right  a  clump 
of  trees,  in  the  shade  of  which  two  women  are  seated,  and 
a  man  is  lying  with  his  left  foot  in  the  air.  Beyond  the 
stream  a  sunny  meadow,  on  which  are  hay-ricks.  In  the 
distance  trees,  which  stretch  back  to  the  horizon. 

Feral  Sale,  1872. 
Collection  de  Sarlat. 
Stardecker  Collection. 

MILLET. 

37  x  iS 
166.  LA  FILEUSE. 

In  the  foreground,  near  the  top  of  a  mountain,  stands  a 
girl,  with  tilted  straw  hat  and  blue  dress.  A  bobbin  hangs  in 
her  left  hand  and  her  spinning  staff  is  under  her  left  arm. 
Goats  grazing  on  the  peaks  of  the  mountain. 

Water-  Color. 
Engraved  by  Kratke. 
E.  Guerin  Collection,  1878  to  1887. 
Barye  Exhibition,  1889. 

(55) 


MILLET. 

167.  VIEW  NEAR  GREVILLE. 

Steep,  grassy  hills,  forming  the  foreground,  slope  down 
from  the  right  and  the  left  into  a  green,  wooded  valley.  Sea 
in  the  background. 

Pastel. 


MONET  (Claude). 

168.  THE  BOAT. 

A  small  plank  wharf,  on  the  right,  extends  out  into  a  blue 
river,  which  stretches  across  the  canvas  from  right  to  left. 
To  the  wharf  is  fastened  a  brightly-painted  boat  with  huge 
white  sail,  the  latter  reflected  in  the  water  in  front.  Near 
the  far  bank  of  the  river  a  rowing-boat  and  another  sailing- 
boat.     Blazing  sunlight. 


MONET  (Claude). 
21  x  28 

169.  THE  RAILROAD  BRIDGE. 

On  the  right  a  high,  blue-colored  bridge,  resting  on  square, 
stone  piers,  spans  a  stream  which  crosses  the  canvas.  In  the 
foreground,  on  the  right,  a  high,  sloping,  grassy  bank.  A 
small  boat  near  the  bridge. 

(56) 


MONET  (Claude). 

21^  X31M 

170.  "LA  M ANNE-PORTE  ETRETAT." 

On  the  right,  high,  stained,  turreted  chalk-cliffs,  whose 
bases  are  lapped  by  the  intensely  green  water.  The  green 
sea  rises  towards  the  distant  horizon. 

Dated  1882. 

MONTICELLI. 

171.  THE  FETE. 

In  front  of  the  arches  of  a  ruined  building,  which,  in  the 
middle  distance,  stretches  across  the  whole  canvas,  a  crowd 
of  gayly-dressed  men  and  women,  promenading  and  dancing. 
Through  the  arches  the  distant  blue  sky  is  seen. 

MONTICELLI. 

23  x3s 

172.  THE  RAVINE. 

A  wooded,  high-banked  ravine  stretches  back  from  the  left 
towards  the  right,  until  it  is  hidden  by  its  right  bank,  along 
which  there  is  a  shaded  road.  Women  bathing.  On  the  left 
bank,  trees. 

MULLER  (Pro.  Leopold). 
15^x28 

173.  ORIENTAL  SCENE. 

The  foreground  a  yellowish  shore.  On  this  the  hull  of 
a  large,  brightly-colored  boat.  To  the  left,  in  the  middle 
distance,  a  long,  yellow  wall.  A  dark-blue  sea  on  the 
right.     Turquoise-blue  sky. 

French  Gallery,  1886. 

(57) 


MUNKACSY  (M.). 

47  x  66 

174.  THE  LAST  DAY  OF  A  CONDEMNED  MAN. 

The  replica  of  the  famous  painting  representing  a  prison 
cell,  with  the  defiant  condemned  sitting  at  the  table,  sur- 
rounded by  his  child  and  heart-broken  wife,  the  guard,  and 
villagers. 

Exhibited  188^-3,  Kockck  Gallery,  Lon- 
don. 


MUNTHE  (L.). 

20X  x  34,'/£ 

175.  NOON. 

A  bright-green  meadow,  full  of  sunlight,  on  the  right  of 
which  is  a  plowman  resting  his  horses.  A  narrow  canal 
stretches  from  the  foreground  on  the  left  towards  the  right. 
On  its  left  bank  a  row  of  trees.  Beyond  these,  on  the 
left,  the  meadow  expands. 


NASMYTH  (Patrick). 

28  X  22^ 

176.  VIEW  NEAR  LAMBETH. 

A  distant  view  of  Lambeth  on  the  right.  On  the  left, 
near  the  background,  a  forest.  In  the  middle  distance, 
towards  the  left,  a  clump  of  large  trees,  above  which  a 
mass  of  white  clouds.  In  the  foreground  a  brook,  with 
bushy  banks.  In  front  of  this,  on  the  left,  a  pathway,  with 
horseman. 

(58) 


NEUVILLE  (Alphonse  de). 
90  x  132 

177.  THE  CEMETERY  OF  ST.  PRIVAT. 

The  few  remaining  wounded  officers  stand  unarmed,  with 
backs  to  the  wall  of  the  church.  The  grave-yard  is  full  of 
dead  and  wounded  French.  The  Germans  are  just  stealing 
in  from  the  rear,  as  the  doorway  of  the  high,  cross-sur- 
mounted, arched,  stone  gate  in  front  is  forced  in  by  others. 
Some  Germans  are  clambering  over  the  high,  stone  wall. 
On  the  right  a  partly-demolished,  reddish  building,  at  the 
door  of  which,  and  peering  from  the  windows,  masses  of 
Germans.  The  background  full  of.  red  smoke  from  burning 
buildings. 

Dated  1881. 

Salon,  1 88 1. 

NITTIS  (Guiseppe  de). 
23  x  46 

178.  RETURN   FROM   THE   RACES,  BOIS   DE 
BOULOGNE. 

The  avenue  leading  in  from  the  Bois  is  crowded  with 
carriages  filled  with  handsomely-dressed  occupants.  On  the 
left  the  sloping  bank  of  a  concourse,  crowded  with  Parisian 
sight-seers:     Glaring  sunshine. 

Dated  i8jj. 

Exhibition  Universal,  i8j8. 

A.    T.   Stewart  Sale. 


NORMANN  (Adelsteen). 
j  S  x  52^ 

179.    NORWEGIAN   FJORD. 

A.  fjord  stretches  back  from  the  foreground  to  the  horizon. 
On  the  right  a  hilly,  wooded  shore.  Trees  in  the  far  dis- 
tance, on  the  left  shore.  In  the  foreground,  on  the  left, 
some  round  rocks.     White  light. 

Dated  1877. 

(59) 


PARSONS  (Alfred). 
23J4  x  59 

180.  A   QUIET  BIT  OF   COUNTRY. 

A  stream,  full  to  its  banks,  stretches  from  the  foreground, 
on  the  right,  to  the  centre,  and  then  curves  to  the  left  till 
it  is  lost  behind  its  left  bank.  The  right  bank  a  meadow, 
with  some  trees.  On  the  left  bank  a  grassy  road  follows 
the  winding  of  the  stream. 

Dated  i88j. 

Salon,  1886. 


PASINI  (Albert). 
11  x  13^ 

1S1.   LANDSCAPE. 

In  the  middle  distance  a  shrunken  pool.  In  the  fore- 
ground and  beyond,  its  wooded  banks.  Clouded  sky. 
Greenish    effect. 


PASINI  (Albert). 

33K  X  2\l/2 

182.  A  MARKET  IN  ONE  OF  THE  STREETS 
OF  CONSTANTINOPLE. 

An  open  street,  on  the  left  of  which  are  high,  brown 
houses,  with  ornate  fronts,  some  decorated  with  banners. 
On  the  right  other  houses,  partly  in  sunshine  and  partly 
in  shadow.  In  front  of  a  crowd  of  watching  people,  which 
fills  the  street,  is  a  seated  juggler.  In  the  background  a 
tall,  sunlighted  minaret,  outlined  against  a  pale-blue  sky. 
Brown  tone. 

Dated  1867. 
Sa/011,  1868. 

(60) 


PA  SIN  I  (Albert). 
14  x  8}i 

1S3.  SKETCH. 

The    original    crayon-drawing    of    the 

above. 


PASINI   (Albert). 

9  x  15K 

184.  DAMASCUS. 

An  open  market-place.  On  the  right,  dark  buildings  in 
shadow.  In  the  foreground,  to  the  left,  crowds  of  horse- 
men and  pedestrians,  in  bright-colored  costumes.  Behind 
these  the  green  trees  of  a  walled  garden,  and  in  the  far 
distance  a  white  building,  with  tower.     Brilliant    blue  sky. 


PATERSON    (Jas.). 
18x30 

185.   LANDSCAPE. 

In  the  foreground,  extending  from  the  left,  nearly  the 
whole  width  of  the  canvas,  a  dark  pool.  Behind  this  a 
green  'bank,  heavily  wooded.     Glimpse  of  clouded  sky. 

Dated  1890. 

French   Gallery,   1891. 

(61) 


PETERSSEN  (Eilif). 

186.  WAITING  FOR  THE  RISE  OF  THE  SALMON. 

In  the  foreground  of  a  still  fjord,  which  stretches  to  the 
left,  the  right  and  the  rear,  is  part  of  a  high,  stony  island, 
with  a  few  cedar  trees,  on  which  are  four  fishermen,  stand- 
ing or  sitting,  watching  for  the  rise  of  the  salmon,  with 
their  boats  fastened  to  the  shore.  The  blue  sky  and 
clouds,  not  seen,  and  the  wooded  shore  on  the  left,  are 
reflected  in  the  fjord.  Only  a  slight  bit  of  sky  shown,  in 
the  distance,  on  the  right. 

Dated  1888. 

Universal  Exhibition,  1889,  where  it 
was  awarded  a  gold  medal  and  the 
Cross  of  the  Legion  of  Honor. 


PETTENKOFEN  (August  von). 

187.  MARKET  IN  HUNGARY. 

A  mass  of  peasant  women  in  the  market-place. 


PISSARO. 

35lA  x  28 

188.    LANDSCAPE. 

A  green,  grassy  hill-top,  with  high  trees,  and  some  houses. 

Baled  1883. 
(62) 


PISSARO. 

iS   X   21 

189.  LANDSCAPE. 

A  river  stretches  from  the  front  into  the  extreme  back- 
ground. Its  left  bank  is  high.  Buildings  in  the  middle  dis- 
tance, on  the  right.  Boats  in  the  foreground,  on  the  left. 
White  light. 

Dated  1888. 

PRADILLA  (Francisco). 

12X  x  934: 

190.  THE  FINISHING  TOUCH. 

A  young  cavalier,  in  eighteenth  century  costume,  stands 
in  front  of  a  looking-glass,  giving  the  last  turn  to  the  tie  of 
his  cravat.     The  mirror  table  covered  with  bric-a-brac. 

Water-  Color. 
PUVIS  DE  CHAVANNES. 

43X  x  60 

191.  WAR. 

Crowds  of  figures  symbolical  of  war,  with  border  decorated 
with  emblems  of  war. 

Universal  Exhibition,  1867,  where,  with 
its  companion,  "Peace,"  it  wo?i  a  medal 
and  the  Cross  of  the  Legion  of  Honor. 

PUVIS  DE  CHAVANNES. 

43X  x  60 

192.  PEACE. 

Crowds  of  figures  symbolical  of  peace,  with  border  deco- 
rated with  emblems  of  peace. 

Universal  Exhibition,  i86y. 

(63) 


PYNE  (J.  B.). 

193.  VIEW  OF  ROCHESTER  FROM  THE  BRIDGE. 

The  bridge  on  the  left,  from  which  the  river  is  seen  to  the 
right.     The  cathedral  in  the  background. 

RAFFAELLI  (J.  R). 

.    194.  THE  OLD  CHARCOAL-BURNER. 

In  the  background,  on  a  high  ash-bank,  a  horse  and  cart. 
In  the  foreground  stands  an  old  charcoal-burner,  in  fur  cap. 
Light  tone. 

RAFFAELLI  (J.    F.). 

195.  THE   GOSSIPS. 

In  the  foreground,  seated  on  a  bench,  two  old  men  are 
gossiping.     Behind  these  a  river  and  the  country. 

RAFFAELLI  (J.  R). 

45  x  50 

196.  MID-DAY.     EFFECT  OF  FROST. 

On  the  left,  in  the  rear,  a  high  mound,  on  which  is  a  house. 
A  steep  road  winds  down  the  hillside.  A  peasant  woman 
and  child  descend.     Frost  effect. 

Salon,  18S6. 

Exhibition  Universal,  iS8g. 

(64) 


REGNAULT   (Henri). 
32  x  24 

197.  THE  MOORISH  DANCE. 

A  woman,  seated  on  a  rug,  plays  the  tambourine,  whilst 
another,  to  her  right,  dances.  A  background  of  yellowish- 
brown  wall. 


REGNAULT  (Henri). 
27  x  ijyi 

198.  THE  PYRENEES. 

A  steep,  stony  road,  partly  in  bright  sunlight  and  partly 
in  shadow  of  trees,  winds  up  the  mountain.  On  its  left  a 
deep  ravine,  over  which  a  shelving  rock  projects.  In  the 
far  background  the  outlines  of  peaks  of  wooded  mountains. 
On  the  right,  high  masses  of  rocks,  which  shut  out  the  road 
as  it.  winds  around  them. 

See  descriptive  letter  of  Clarin  at  back. 


REYNOLDS  (S.  W.). 

i8>2  x  23 

199.  THE  RIVER. 

The  river  stretches  obliquely  from  the  left  foreground  to 
the  background  on  the  right.  On  the  narrow  bank,  on  the 
right,  a  fisherman  seated.  The  high  left  bank,  in  the  fore- 
ground, slopes  upward  into  the  distance,  and  is  covered 
with  trees.  At  its  base  some  log  rafts  are  anchored.  Brown 
tone. 

Collection  Binder,  for  which  it  was  pur- 
chased in  London  in  i8ji,  by  Jules 
Duprc. 

(65) 


RIBOT  (Theodule). 

l6^  X  12 

200.  BASSE-COUR. 

The  chef,  in  white  cap  and  apron,  at  the  head  of  a  short 
flight  of  stairs  leading  from  the  area  up  into  the  yard,  leans 
against  the  wall,  watching  a  cat  feeding.  A  glimpse  of  cloud- 
less, intensely  blue  sky. 

Dated  1861. 

Salon,  1861. 


RIBOT  (Theodule). 

14/2  x  17^ 

201.  FLOWERS. 
Flowers  in  pots  on  a  green  grass-plat. 


RICO  (M.). 
11x7 

202.  NEAR  CHARTRES. 

A  stream  stretches  back  from  the  foreground,  on  the  right, 
towards  the  left,  where  it  is  hidden  by  its  left  bank.  Upon 
the  latter,  in  the  foreground,  are  some  white,  sunlighted 
mill  buildings,  which  are  reflected  in  the  still  water.  The 
right  bank  covered  by  poplars.  A  small  boat  floats  on  the 
water,  near  the  rear. 

First  Spencer  Sale. 

(66) 


RICO  (M.). 

I5>£  x  26 l/, 

203.  EVENING  HOUR. 

The  sky  tinged  with  the  after-glow.  A  mill-pond  in  the 
foreground.  On  the  right  bank  the  gray  mill  buildings  with 
brown  roofs.  Green  bushes  and  trees  surround  the  pond, 
and  are  reflected  in  it.  On  the  pond,  towards  the  left,  a 
boat,  with  several  persons. 

Painted  in  1870. 

Borie   Collection. 


RODOWSKI. 

204.  THE  PILOT. 
An  old  Finnish  pilot  holds  the  wheel  of  the  boat. 


ROUSSEAU. 

'  7  x  s;A 

205.  LANDSCAPE. 

The  foreground  is  a  level,  dark  plain,  in  whose  centre  is  a 
pool.  In  the  background,  on  the  right  and  on  the  left,  are 
dark-roofed,  white,  farm  buildings,  behind  trees. 

(67) 


ROUSSEAU. 

15X  x  18 

206.  OCTOBER. 

A  high  pathway,  near  the  top  of  a  mountain,  curves  from 
the  left  towards  the  right,  around  the  base  of  a  rocky,  wooded 
cliff,  by  which  it  is  hidden.  At  the  foot  of  the  tree-covered 
mountain,  which  falls  rapidly  on  the  left,  the  sea  is  seen. 
Brown  effect. 

Dated  "  Oct.  183/." 
Barye  Exhibition,   1889. 


ROUSSEAU. 

63.4  x  9 

207.  THE   FARM  POOL. 

In  the  distance,  on  the  right,  in  a  walled  enclosure,  the 
farm  buildings  are  seen.  On  the  left,  near  the  foreground,  a 
small  pool,  in  which  stands  a  horse,  drinking.  On  his  back  a 
rider.  On  the  right  bank  a  tree.  The  sky  red  with  sun- 
set color. 


ROUSSEAU. 

16  x  32 

20S.  LANDSCAPE. 

The  foreground  a  river  meadow,  with  pools.  Tree  clumps 
on  the  right.  The  river,  in  the  middle  distance,  extends 
from  the  right  nearly  to  the  left,  and  then  curves  to  the 
rear.     Clumps  of  trees  on  the  left  and  in  the  background. 

Sedelmeyer  Sale,  No.  86,  i8jj. 
(68) 


ROYBET  (Ferdinand). 
25  x  29 

209.  DEATH  OF  ROXANA. 

A  harem  interior,  with  brilliant  pieces  of  color.  The  slave, 
who  has  stabbed  the  unfaithful  sultana,  stopping  at  the  door- 
way, by  which  stands  a  female  attendant,  with  portiere  half 
drawn,  gazes  at  his  victim  lying  dead  amongst  overturned 
ornaments. 

RUSINOL  (S.). 

38^  x  3i# 

210.  THE  CABARET. 

A  woman  seated  in  a  room,  by  table,  on  which  is  a  glass 
of  liquor.  Another  stands  by  the  door  leading  into  the  room 
beyond,  watching  men  drinking. 

Champs  Mars,  i8g2. 


SARGENT  (John  S.). 

25X  x  36 

211.  VERSAILLES  GARDEN. 

The  trees  of  the  garden  fill  the  background.  Across  the 
canvas,  in  front  of  them  extends  a  stone  wall  with  open  stone- 
work top.  Through  an  opening  in  the  wall,  on  the  right,  one 
of  the  walks  of  the  garden  is  seen.  A  large  marble  vase  on 
a  stone  pedestal  on  the  left  side  of  this  opening.  Still  to 
the  left  of  this  a  stone  seat  bowered  in  bright  flowers.  The 
foreground  is  one  of  the  concourses,  with  fountain  and 
people.  In  the  middle  distance,  a  pair  of  lovers  walk  arm 
in  arm. 

Dated,  1879. 

(69) 


SISLEY  (Alfred). 

212.  LANDSCAPE. 

A  flat  bank,  with  trees,  and  in  the  distance,  on  the  extreme 
right,  a  glimpse  of  water.  Impressionistic  in  color  and  light- 
ing. 

Dated    "So." 

Porto  Riche   Collection. 


SISLEY  (Alfred). 
20^  x  jfiYt, 


A  river,  with  green,  marshy,  near  bank,  extends  from  left  to 
right  across  the  centre  of  the  picture.  This  is  spanned,  on 
the  left,  by  a  high  bridge  with  stone  piers.  Through  these, 
on  the  far  bank,  to  the  left,  houses  may  be  seen.  On  the 
same  bank,  towards  the  right,  a  row  of  red-roofed,  brown 
houses  stretches  along  the  river.  High,  clouded  sky  with 
blue  openings. 


STEVENS  (Alfred). 
30  x  wyi 

214.  REVERIE. 

A  symphony  in  brown.  A  tall  woman,  with  a  book  under 
her  left  arm,  in  clinging  brown  dress,  stands,  musing,  amongst 
fallen  leaves  in  front  of  a  stone  seat.  The  brown  woods  fill 
the  background. 

(70) 


SWAN  (J.  M.). 

215.  THE  APPROACHING  COMBAT. 

A  swamp,  with  tropical  trees  in  background.  An  alligator 
is  swimming  towards  two  young  jaguars  on  the  right,  who 
have  jumped  partly  towards  it  into  the  water.  Their  mother, 
stretched  along  the  branch  of  an  overhanging  tree,  is  pre- 
paring to  spring.     Green  effect. 

Painted  in  1891. 


SWAN  (J.  M.). 
5x8 

216.  WILD  BOARS. 

A  snow-covered,  flat  ground,  in  front  of  trees.  Peeps  of  a 
red  sunset  behind  these.  In  the  foreground  some  wild  boars 
curiously  examining  a  half-hidden  bottle. 

Dated  1879. 


SWAN  (J.  M.). 

16  x  27 

217.  THE  TWO  TIGERS. 

One  tiger  faces  us,  with  its  head  resting  on  its  paws, 
partly  hidden  by  its  companion,  which  lies  sideways,  watch- 
ing, with  half-raised  head. 

(7i) 


SWAN    (J.  M.). 

24^  x  34 

218.  LIONESS   AND  SERPENT. 

On  the  top  of  a  grassy  mountain  peak,  a  lioness  and  ser- 
pent are  about  to  engage  in  deadly  battle.  The  lioness, 
gathered  together  for  a  spring,  has  planted  her  left  paw  upon 
the  snake,  whose  head  is  lifted  from  a  little  pool  which  it 
has  partly  reached.     Blue  peaks  in  the  distance. 

TASSAERT  (O.). 
I2#  x  9# 

219.  "LES   PAUVRES." 

By  the  side  of  the  high  wall  of  a  house,  two  children 
crouch,  the  larger  one  kneeling,  the  smaller  one  by  her  side. 

Dated  1855. 
Dumas  Sale. 

THOLEN  (W.  B.).  & 

1-]%  x  23 

220.    THE  BREAKFAST. 

In  a  room,  near  a  window  shown  in  the  background,  a 
child  eating  its  breakfast,  feeding  a  bird. 

Painted  in  iRgi. 

TODT    (Max). 
8xb 

221.  "DEVIL  MAY  CARE." 

A  trooper,  pipe  in  mouth,  with  slouch  hat,  is  tilted  back 
in  a  chair  which  rests  against  the  wall. 

/  'ienna    Exhibition   of  1887,    ichcrc    it 
'was  awarded  a  gold  medal. 

(72) 


TROYON. 

3i  x  25 

222.   LANDSCAPE. 

A  stream  curves  from  the  foreground,  on  the  right,  towards 
the  centre,  and  is  lost  behind  its  high  left  bank,  which  is 
covered  with  large  trees.  By  the  marshy  right  bank  a 
boat  with  red-coated  boatman  leaning  over  its  side.  The 
meadow  fills  the  background.  High,  heavily-overcast  sky, 
with  blue  breaks. 


TROYON. 

39  X52 
223.   DOGS  IN  LEASH. 

A  background  of  high  marsh-grass.  In  front  of  this,  two 
large  Spanish  pointers,  fastened  together  by  a  rope.  The 
older  dog  (red  and  white)  walks  steadily  forward,  whilst 
the  younger  (black  and  white)  tries  to  pull  away  from  him. 

Sold  at  Troy 011  sale  in  1866,  to  M.  Boquet. 


TROYON. 


224.  THE  RED  COVV. 


In    the    foreground,  a  white-marked,  red   cow  is  walking 
away,  along  a  sunny  road.     High  sky,  with  clouds. 

(73) 


TROYON. 

24^  x  20^ 

225.  FOREST  CLEARING. 

A  sunny,  winding  road,  at  the  top  of  a  hill,  curves  from  left 
to  right,  and  is  lost  amongst  the  forest  trees  where  it  begins 
to  descend.  In  the  foreground,  on  the  left,  a  huge  branch, 
covered  with  dead  leaves,  is  propped  against  a  mass  of  trees, 
which  hold  it.     Children  playing  near  it.     Brown  effect. 

Painted  in  184.6. 
Barye  Exhibition,  iS8g. 

TROYON. 

25  x  37 

226.  ON  THE  ROAD  TO  THE  MARKET. 

A  little  troop  of  sheep  and  cows,  one  of  the  latter  red  and 
another  white,  advance,  in  a  cloud  of  dust,  along  a  road,  in 
charge  of  a  man  and  dog.-  Behind  them  a  woman,  mounted 
on  horseback,  who  has  halted,  is  talking  to  a  peasant.  On 
the  curving  road,  to  the  right,  in  the  distance,  some  peasants, 
and  a  wagon,  loaded  with  hay.  A  meadow  stretches  to  the 
left,  which  is  crossed  by  a  stream  of  water.  The  scene  bathed 
in  summer  haze.     The  sky  full  of  light,  moving  clouds, 

Derby  Sale,  New  York,  187 1. 
Barye  Exhibition,  i88g. 

TROYON. 

22  x  26 

227.  THE  GARDEN  GATE. 

A  garden.  By  the  hedge,  in  the  middle  distance,  on  which 
some  clothes  are  drying,  stands  a  peasant  woman.  Trees  in 
the  background.     Garden  in  the  foreground. 

Hulot  Sale. 

(74) 


VAN  BEERS  (Jan). 

228.  PRETTY  POLL. 

On  the  right  of  a  hall  at  the  foot  of  a  high  stairway,  a 
parrot  on  a  perch,  and  a  young  girl,  in  gray  hat  and  green 
dress,  talking  to  it.  Through  the  hallway,  on  the  left,  is  seen 
a  distant  room,  lighted  by  a  window  in  the  background. 

Dated  Paris,  1879. 

VAN  MARCKE  (E.). 

26  'A  x  39^ 

229.  LA  MARE  AU  POMMIER  (NORMANDIE). 

In  a  pool,  in  the  foreground,  two  cows,  one  red,  the  other 
black  and  white.  On  the  left,  a  twisted,  old  tree-trunk  pro- 
jects over  the  pool.  A  meadow,  with  trees,  on  the  right,  on 
which,  in  the  distance,  cows  are  grazing.  In  the  middle  dis- 
tance a  red  cow,  walking  away. 

VAUTIER    (B.). 

3i  X54 

230.  THE   MAYOR'S  ANNUAL  DINNER. 

A  long  dining-table  stretches  from  near  the  head  of  the 
room,  on  the  right,  across  the  centre  of  the  picture,  to  the 
left.  The  ennuied  Mayor,  the  commandant,  and  the  chief 
farmer  are  seated  at  the  head  of  the  table.  The  cure,  near 
them,  indicates  their  places  to  the  farmer  guests  who  stand 
awkwardly  along  the  table  on  each  side.  Two  female  ser- 
vants stand  on  each  side  of  the  Mayor,  one  with  a  huge 
tureen  of  soup  in  her  hands.  The  villagers  peep  through  a 
window  in  the  background. 

Dated  1871. 

Universal  Exhibition  of  i8?8,  where  it 
was  awarded  a  first  medal. 

(75) 


VIBERT  (J.  G.). 

12  x  16 

231.  GRASSHOPPER  AND  ANT. 

The  half-starved,  shivering,  spendthrift,  in  green  silk,  with 
his  violin  strapped  on  his  back,  in  the  middle  of  a  snow-cov- 
ered road,  begs  from  the  brown-robed,  well-fed  monk,  on 
whose  back  is  a  load  of  dead  turkeys.  The  hillside  cov- 
ered with  snow.     Leaden  sky. 

1  Vater-  Color. 
Dated  1875. 


VILLEGAS  (Jose). 
29  x  17^ 

232.  THE  RANSOM. 

In  the  background,  seated  on  the  floor  of  the  Hall  of  Jus- 
tice, sit  the  judges,  who  have  passed  sentence.  In  the  fore- 
ground, alongside  of  the  block,  is  the  negro  executioner  try- 
ing the  edge  of  his  sword,  and  calling  aloud  the  terms  of  the 
ransom.  These  are  written  on  the  top  of  the  pillar  in  front 
of  which  is  bound  the  sentenced  woman. 

Painted  in  1875. 


VOLLON  (A.). 

l6X   X  21 

233.  DUNKIRK. 

A  circular,  white  pool  in  the    centre  of   a  shore  covered 
with  logs.     A  high,  overcast  sky. 

(76) 


VOLLON  (A.). 

67  x  50 

234.  WOMAN  AT  SPINNING-WHEEL. 

In  a  darkly-lighted  room,  in  the  right  of  which  is  a  spin- 
ning-wheel, sits  a  peasant  woman,  with  white  cap,  and  folded 
hands. 

Painted  in  iSj6,  as  a  companion  to  the 
Fisherivoman  of  Pollet. 


VOLLON  (A.). 

22>£  X  30>£ 

235.  STILL  LIFE. 

On  a  table,  on  the  right,  a  large  white  dish,  filled  with 
grapes  and  peaches,  tilted  against  a  pile  of  green  cloth.  To 
the  left  of  this  more  grapes.  Against  the  yellowish-brown 
background  a  wine-glass  and  high  brown  jug. 


VOLLON  (A.). 

17  x  14% 

236.  IN  CHARGE. 

The  interior  of  a  studio.  A  monkey,  in  green  jacket  and 
straw  hat  with  pink  feather,  is  squatted  on  a  low,  cushioned 
seat,  blowing  a  trumpet.  By  the  mantel,  on  the  right,  an  old, 
round  stove,  on  which  is  a  large  vessel.  On  an  easel,  to  the 
left,  a  painting.     The  paint-box  and  palette  on  the  floor. 

Painted  in  1869. 

(77) 


VOLLON  (A.). 

9%  *  u'A 

237.  THE  MOUNTEBANK. 

A  pool,  shown  on  the  right,  forms  the  foreground  and  left 
of  the  picture.  On  its  bank  is  seated  a  mountebank,  in  red 
cloak,  with  his  dog. 


VOLLON  (A.). 

19^  x  26 

238.  TREPORT. 

In  the  foreground,  at  ebb  tide,  the  yellow  shore,  with  ships 
and  boats  aground.  On  the  left,  in  the  middle  distance,  the 
buildings  of  the  port.  Red-roofed  wharf  buildings  and  the 
sea  in  the  background.     High,  cloudy  sky. 

Salon,  1886. 

Universal  Exhibition,  1889. 

Dumas  Sale. 


VOLLON  (A.). 
w%  x  i4)4 

239.  VIEW  OF  MARTIGNES  (SUBURBS  OF 
MARSEILLES). 

A  quiet  sea  fills  the  foreground.     Shipping  on  the  right 

and  sail-boats  on  the  left.     A  street  in  the  centre  runs  back 

from    the    shore.     On    each    side    of  this    white  and  brown 

houses.     A  cloudless  blue  sky. 

Collection  of  Mallignct. 

(73) 


WAUTERS   (Emile). 

itj^  x  9 

240.    STUDY. 

Head  of  a  Montenegrin  chief,  in  brown  coat  and  light-blue 

vest. 

Painted  in  18  j8. 

WAUTERS  (Emile). 
50x39 

.  241.  MARY  OF  BURGUNDY  TAKING 
THE  OATH— 1477. 

On  a  raised  throne,  under  a  projecting  velvet  canopy, 
stands  Mary,  clothed  in  white,  .taking  the  oath  on  a  Bible 
held  in  front  of  her  by  the  Archbishop.  Behind  her,  four 
female  attendants.  In  the  foreground,  on  the  right,  stand 
several  of  her  red-robed  ministers.  On  the  left  the  choristers, 
one  of  whom  holds  aloft  a  cross.  In  the  distance,  on  the 
extreme  left  of  the  Archbishop,  and  in  front,  are  other  figures. 

Original  of  the  painting  at  head  of  the 
grand  staircase,  Hotel  de  Ville,  Brus- 
sels. 

Belgian  Exhibition,  at  Philadelphia, 
1882. 


ZAMACOIS  (Eduardo). 

242.  TOREADOR. 

A  toreador,  in  green  dress,  and  orange  scarf,  looks  into  a 
mirror,  which  reflects  his  head  and  shoulders.  His  pink  cloak 
and  black  cap  lie  on  a  table  near  the  mirror. 

Dated  1866. 
Everard  Sale. 

(79) 


ZIEM  (Felix). 

S'A  x  13 

243.  VIEW  OF  PARIS  FROM  THE  SEINE. 

On  the  right  bank  of  the  Seine,  which  curves  towards  the 
left,  is  a  boat,  on  which  a  woman  is  seated.  Masses  of  build- 
ings and  trees.     A  distant  bridge  on  the  left. 


ZIEM  (Felix). 

2$}4  X  21 

244.  VENICE. 

A  high,  yellow  sky,  out  of  which  the  sun  has  just  sunk. 
A  church  in  the  distance,  beyond  the  canal.  On  the  right 
side  of  a  side  canal,  in  the  foreground,  high  houses,  reddened 
by  the  glow  from  the  sunset  sky.  On  the  left  side  of  this 
canal  more  houses,  in  shadow,  and  a  gondola. 

Collection  Albert   Wolff. 


ZUGEL  (H.). 

16^  x  24 

245.  THE  OXEN. 

Two  oxen,  one  black  and  white,  the  other  red  and  white, 
fastened  to  a  plow  standing  in  the  foreground  near  the  centre. 
The  half-plowed  field  stretches  to  the  right  and  left.  A  dog, 
on  the  left,  lying  in  front  of  the  oxen.  On  the  right,  be- 
yond the  oxen,  a  flock  of  sheep  lying. 

Munich  International  Exhibition  of  1883, 
where  it  was  awarded  a  gold  medal. 
French  Gallery,  1884. 

(So) 


De  NITTIS  (G.). 

io  x  9 

246.  THE  CONNOISSEURS. 

Interior  of  a  bric-a-brac  shop.  Five  connoisseurs,  two  of 
whom  are  seated  and  three  are  standing,  discussing  a  vase 
held  by  one  of  them. 


GERICAULT    (Theodore). 
32  x  26 

247.  RAFT  OF  THE  "MEDUSA." 
Study  of  the  two  central  figures  of  the  painting. 


MARIS  (Jacques). 

18x30 

248.  HOMEWARD    BOUND. 

A  narrow  canal  runs  obliquely  from  the  left  to  the  right 
ickground.     On  its   right    be 
The  left  bank  rises  to  a  hill. 

(Si) 


background.     On   its    right    bank  a  white    horse    and    rider. 


ANCIENT  MASTERS. 


-0 — 


BERCHEM  (Nicholas). 
1 620- 1 68  3. 

12  x  9^ 
249.  LANDSCAPE  WITH  CATTLE. 

Standing  in  a  pool,  in  the  foreground,  on  the  right,  a  white 
cow,  a  red  cow,  and  sheep.  Behind  these,  on  the  right,  high 
rocks.  On  the  left,  in  the  middle  distance,  approaching  by 
a  path  skirting  the  rocks,  a  man,  and  a  woman  seated  on  a 
donkey.  A  man  in  red  jacket,  in  the  extreme  distance, 
driving  a  flock  of  sheep  along  the  road. 

Signed  in  full. 
Wellington   Collection. 


BOTH   (Jan). 
1610-1652. 

30  x  40 

250.  THE  BRIDGE. 

A  reddish-yellow  stone  bridge  crosses  a  stream.  A  road 
leads  from  some  high  trees,  on  the  right,  up  to  and  over  this 
bridge,  to  the  foot  of  a  huge  rock,  on  which  is  a  ruined  castle. 
On  the  road,  and  on  the  bridge,  pedestrians  and  horsemen. 
A  meadow  stretches  back  from  the  road  and  bridge,  on  the 
right.     In  the  background,  hills  and  buildings. 

Hamilton  Collection. 

(S3) 


CANALETTO  (Antonio). 
1697-1768. 

4S  x  76 

251.  VENICE  FETE. 

On  the  right,  a  stretch  of  buildings,  with  the  Palace,  the 
Piazza  and  the  gardens,  extending  back  to  the  entrance  of 
the  Grand  Canal.  In  the  near  background,  la  Douane,  and 
the  Dome  of  Santa  Maria.  In  the  extreme  background  the 
buildings  on  the  left  of  the  Grand  Canal.  The  foreground 
the  sea.  Innumerable  boats  and  people.  The  royal  barge 
in  front  of   the  gardens. 

CANALETTO   (Antonio). 
1697-1768. 

14  x  25 

252.  THE  RIALTO. 

A  canal,  with  boats  and  gondoliers  in  the  foreground, 
stretches  from  left  to  right,  and  then  reaches  back,  on  the 
right  of  a  row  of  buildings  beyond  the  Rialto,  nearly  to 
the  rear.  On  the  right,  behind  the  canal,  a  street,  with 
buildings. 

Cavendish-Bcntinck  Sale. 

CAPELLE    (Jan  Van). 
17th  Century. 

24  x  33  )i 
253.    LA  MEUSE. 

A  still  river  fills  the  whole  foreground,  and  is  lost  in  the 
distant  horizon.  A  high  sky  full  of  moving  clouds,  which 
are  reflected  in  the  river.  On  the  left,  towards  the  fore- 
ground, a  large  pilot-boat.  Beyond  this,  a  vessel  of  war. 
In  the  middle  distance,  a  fishing-boat  with  two  men.  On 
the  right,  at  a  pier,  sailing-boats.  Vessels  in  the  distance. 
Gray  effect. 

Signed  with  initials  "J.   V.  C." 

Rothan  Sale. 

(34) 


DE  WITTE  (Emanuel). 
1607-1692. 

l6  X  12 

254.  CHURCH  INTERIOR. 

A  church  aisle  on  the  left.     High  columns  on  right. 

Sedelmeyer  Collection. 


DYCK  VAN  (A.). 
1 599-1641. 

8x6 
255.   PORTRAIT. 
Study  of  the  half-length  portrait  of  Rubens. 


GOYEN   VAN  (Jan). 
1596-1656. 

9l  x  12 

256.  LANDSCAPE. 

A  near  shore  makes  the  foreground.  A  river  stretches 
across  the  middle  distance,  and  sweeps  around  its  shore  on 
the  right.  Beyond  the  river,  on  the  left,  a  church  and  houses. 
Boats  and  boatmen. 

Engraved  by  Max  Lalanne. 
Desc7'ibed  Gazette  des  Beaux  Arts,  i8jj. 
Marquis  de  La  Rochelambert  Sale. 
Signed  "  V.    G."     Dated  1653. 
Collection   Baroness  N.  de  Rothschild. 

(85) 


GUARDI  (F.). 

1712-1793. 

27  x  36 

257.  VENICE. 

The  canal  fills  the  foreground  from  left  to  right,  and 
stretches  to  the  background.  A  short  row  of  buildings  on 
the  right.  On  the  left,  a  long  row  of  buildings.  Amongst 
them  the  rear  of  Sante  Maria  with  its  great  dome.  Delicate 
blue  sky  with  light  clouds. 

Ingram  {Marsala  House')  Collection. 


GUARDI  (R). 
1712-1793. 

258.  LA  DOGANA. 

The  canal  is  shown  in  front,  and  to  the  right,  of  the  Custom- 
House  and  Sante  Maria,  filling  the  foreground  and  right  of 
the  canvas.  A  glimpse  of  it  stretching  around  the  Custom- 
House  on  the  left.     Boats,  gondolas  and  gondoliers. 

Vicomtesse  de  Courval  Collection. 


GUARDI  (F). 
1712-1793. 

259.  VENICE. 

The  canal  forms  the  whole  foreground.  Houses  on  the 
right  and  left  of  it.  It  stretches  back  to  the  distant  back- 
ground.    Beyond  it  more  houses  are  seen. 

Vicomtesse  de  Courval  Collection. 


(86) 


KNELLER  (Sir  Godfrey). 
1646-1723. 

260.  PORTRAIT. 
Half-length  portrait  of  Baron  Liebsig,  in  red  cap. 


METSU  (Gabriel). 

Attributed  to. 

1615-1668. 

13  x  16 

261.  INTERIOR. 

■  Interior  of  a  cottage,  with  open  doorway  on  the  left, 
through  which  a  man  driving  home  cows,  along  a  road,  is 
seen.  In  the  rear  of  the  room,  on  the  right,  two  cows. 
In  the  centre  a  peasant  woman  approaches,  carrying  a  milk 
pail.  On  the  left,  an  old  woman,  peeling  carrots.  A  cat  at 
her  feet.     Cottage  utensils,  vegetables  &c. 

John  Hare  Powel  Collection. 


MOUCHERON  (F.). 
1633-1686. 

19  x  23 

262.  LANDSCAPE. 

A  high  hill,  with  round  castle  and  trees,  on  the  right.  A 
road  from  the  bridge  curves  down  the  hill.  High  trees  on 
left.     Hills  in  the  background. 

Signed  in  full. 

John  Hare  Powel  Collection. 

(87) 


RUISDAEL  (Jacob). 
1628-1682. 

18X  x  24 

263.  LANDSCAPE. 

On  the  right  bank  of  a  pool,  which  fills  the  left  fore- 
ground, a  tree.  By  its  side,  a  road,  on  which  is  a  man  on 
horseback  talking  to  one  on  foot.  A  hilly  country  stretches 
back  to  the  horizon.     Brown  tone. 

Figures  by  A.  van  de  Velde. 
Signed  in  full. 
Nieuwetihuys  Sale,  1834. 


TENIERS  (David,  Jr.). 
20 'A  x  17J4 
264.  COTTAGE  INTERIOR. 

In  the  centre  of  a  room,  lighted  from  the  left  by  a  high 
window,  the  lower  half  of  which  is  open,  an  old  woman,  in 
white  cap,  with  folded  hands  resting  on  her  lap  and  on  a  table 
to  her  right.  On  the  table  a  jug,  a  snuff  bowl  and  other 
accessories. 

Signed  in  full. 

Cammell  Collection  {Norton  Hall). 


TINTORETTO    (School  of). 
20  x  16% 
265.   PORTRAIT. 
Half-length   female  portrait. 

(SS) 


UNKNOWN. 
(Italian   School.) 

28  x  23 

266.  VIRGIN  AND  CHILD. 

The  Virgin,  in  dark-blue    cloak  with    red  sleeves,  stoops 
her  head  to  the  child  she  holds  in  her  arms. 

John  Hare  Powel  Collection. 


VERSPRONCK. 

Attributed  to. 
17th  Century. 

S)4x7% 

267.  PORTRAIT. 

Half-length  portrait  of  an  old  man. 


WILSON  (Richard)   R.  A. 
1713-1782. 

17  X  21%' 

268.  ITALIAN  LANDSCAPE. 

High  hills  in  the  background.  In  the  middle  distance  a 
lake,  in  centre  of  which  an  isle  and  castle.  In  the  fore- 
ground another  hill,  with  three  figures. 

Ellis  Collection. 


WISSING  (William). 
1656-1687. 

24  x  19X 

269.  PORTRAIT. 

Half-length  portrait  of  Duke  of  Sussex. 

(89) 


ZEGELAAR   (G.). 

i 7 19-1794. 

iy/  x  10 

270.  THE  BRICKLAYER. 

Behind  a  pile  of  bricks,  on  top  of  which  is  a  large  earth- 
en jug,  stands  a  bricklayer,  shown  half-length,  in  green  jack- 
et, and  soft  black  hat.  A  pipe  in  his  left  hand.  His  right 
hand  resting  on  the  jug.     Landscape  background. 

Signed  "  G.  Zegelaar." 


ZEGELAAR  (G.). 
1 7 19-1794. 

13X  X  10 

271.  THE  CARPENTER.     . 

Behind  a  table,  at  which  he  has  been  working,  on  which  are 
shavings,  a  brown  jug  and  a  loaf  of  bread,  stands  the  car- 
penter, shown  half-length,  in  brown  coat  and  soft,  round  hat. 
In  his  left  hand  dangles  a  herring.  A  knife  in  his  right  hand. 
Landscape  background. 

Signed  "  G.  Zegelaar." 


(90) 


ADDENDA. 


OLD  CROME. 

23^  x  17% 

272.     LANDSCAPE. 

The  foreground  is  the  slope  of  a  wooded  hillock,  whose 
summit  is  in  the  middle  distance,  and  which  extends,  on 
the  left,  and  centre,  to  the  background.  On  the  right, 
a  stream  winds  around  the  hillock.  Beyond  the  stream, 
in  the  right  background,  a  meadow,  hill  and  trees.  Even- 
ing  effect.  S^J>  **A~^£^«u,    C^&^^aJ^J 

BARKER  (of  Bath). 
30  x  41. 

273.     GIPSIES  ON   THE  MARCH. 

A  gipsy  on  pony,  with  several  of  the  tribe.     A  stormy  sky. 

Painted  in  i8tj. 

RAFFAELLI  (J.  F.). 

20}4  X  20}4 

274.     AT  WORK. 

On  the  left,  an  artist,  the  back  of  whose  head  and 
shoulders  are  shown,  is  varnishing  a  framed  painting  of  a 
man  and  landscape. 

Exhibition  Rue  Volney. 

(91) 


LAGARDE  (Pierre). 

X 

275.  STREET  SCENE. 
Exhibited  ' '  Societe  Internationale, ' '  1892. 


(92) 


BRIGHT  (Henry). 

23  x  44 

276.  IFFLEY   MILL— OXON. 

On  the  right,  a  hillock.  In  the  background,  on  the  left,  a 
mill,  buried  in  trees.  A  road  curves  from  the  rear,  forward,  to 
a  stream  which  fills  the  foreground  and  winds  around  the  mill. 
Four  cows  at  the  water-side. 

CONSTABLE  (John). 

14  x  24 

277.  CHAIN  PIER— BRIGHTON. 

The  sea,  on  the  right,  stretches  back  obliquely.  On  the 
left,  the  shore,  bordered,  on  the  extreme  left,  by  buildings. 
Pier  in  the  distance. 

This,  with  JVbs.  2J2  and  276,  from  Old 
English    Art   Exhibition   in    French 

BRANDON  (E.jd 

60  x  32 

278.  LA   SORTIE  DE   LA  LOI  LE  JOUR  DU 

SABBAT. 
Interior  of  a  tabernacle.     The  preacher,  on  a  raised  plat- 
form in  the  centre  and  rear,  holds  aloft  the  Pentateuch.     Be- 
hind him,  the  elders.     On  the  left,  the  congregation,  in  pews. 

Dated  1869-70.     Salo?i,  i860. 
Engraved  by  Courtry. 
Camondo  Sale,  February,  1893. 

HARRISON  (Alexander). 

J5*39 

279.  WAVE-PLAY. 

The  water  from  the  waves  which  comb  and  break  near  the 
shore,  wash  over  the  latter. 

TROYON. 

io}4  x  14^6 
280.  TREPORT. 

In  the  background,  the  houses  of  the  fishing  village,  on  a 
bank.  The  foreground,  the  shore,  wet  from  the  receded  tide. 
Boats  and  figures. 

Van  Pr-aet  Collection,  z8oj. 

CUYP  (A.). 

12^  x  iS'/2 

281.  LANDSCAPE  AND    CATTLE. 

Church  and  buildings  in  left  background.  Cattle  and  sheep 
in  foreground.  Avenue  of  trees  in  centre,  extending  from 
middle  distance  to  background.  Meadow  in  distance,  on 
right. 

Signed. 


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